


Watching Crimes of Grindelwald

by Chirstmas25



Category: Fantastic Beasts and Where to Find Them (Movies)
Genre: Alternate Universe, Budding Love, Character Death, Characters Watching Harry Potter Movies, Hogwarts, MACUSA | Magical Congress of the United States of America, Magic, Ministry of Magic (Harry Potter)
Language: English
Status: Completed
Published: 2021-01-20
Updated: 2021-01-21
Packaged: 2021-03-12 08:07:35
Rating: General Audiences
Warnings: Creator Chose Not To Use Archive Warnings
Chapters: 13
Words: 30,593
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/28882188
Author URL: https://archiveofourown.org/users/Chirstmas25/pseuds/Chirstmas25
Summary: It's been a few months since our character's have watched the first movie let's see how they react to the second movies.
Relationships: Credence Barebone/Nagini, Jacob Kowalski/Newt Scamander, Leta Lestrange/Theseus Scamander, Newt Scamander & Theseus Scamander, Tina Goldstein/Newt Scamander
Kudos: 16





	1. Chapter 1

It had been a few months laundering the viewing of fantastic beasts, and things were already much better than they were before.

First change came with Queenie and Jacob, despite Jacob proving he would keep the wizard world a secret the president still wasn't abelt I grant Jacob the chance to know about wizards though seeing Jacobs sense of character she decided to give Queenie a loop hole. Yes she and Jacob could not stay together in America the law on wizard/muggle relationships was much more lenient in Britain. So with a letter of recommendation from the president herself Queenie was able to secure a position in the ministry of magic in the Department of Magical Transportation. Jacob was earning enough from him bakery that he was able to open another shop in England. Currently both we're in the process of getting the bakery all set up and the apartment upstairs ready, and we're due to move in full in less than a month. Tena of course was sad to see her sister leave but was also happy for her finding her true love, and now she had an excuse to go to London, due to imagination being a long process both Queenie and Jacob have been told that until they fully have all there paperwork done they can't leave Britain.

Now speaking of Tena, while noting was official she and a certain mazoologist had been spending an awful lot of time together recently. Dinner dates Here and there then Tena was in London visiting her sister. However with Jacob and Queenies wedding next July both newt and Tina had been given the roles of best man and maid of honour respectively. So while things weren't moving at a rapid speed much like Queenie and Jacob they were getting there.

Newt and Theseus relationship had much improved over the months, the two were becoming as close as they where when they were children. Newt frequently spent his evenings having dinner with Theseus and Leta.

As bad as things were for the barebones sibling that's how good they became, the first few days after being welcomed into the Weasley household had been quite tense, the three siblings mainly kept to themselves and only spoke when being spoken to. However with the help of septimus Weasley they soon began to open up, modesty as the first, being as young as she was the wonder of the wizarding world soon enticed her out of her self imposed silence, it was not long after that she would be found watching septimus Weasley fly around on his broom and occasionally ride behind him, Chasity was next to come around, though while Modesty enjoyed rough housing with septimus, she much preferred helping Cordelia with the household chores and cooking, and had taken quite a liking to preparing dinner for the family she had also met a young muggle man down in the village where she would go shopping for ingredients, Peter Clark was a travelling salesman, quite a strapping young man, aged 24 , dark brown hair , bright blue eyes, he and Chasity had hit it of quite well, he had even invited her to go dancing with him.

Credence had taken the longest to settle into the household and he still wasn't completely there, years of mental and physical abuse had taken its toll and made credence unwilling to accept new people into his life easily. He had been coxed by the Weasley and and his sister to seek out a mind healer, so every Thursday around 4 he would go to st. Mungos and chat with the mind healer, it was a long process but after a few months of living with the Weasleys credence had had stoped flinching when ever someone even stepped near him, due to his age he had passed the age that he could be accepted into Hogwarts, however with the support of albus credence had been allowed to go to Hogwarts on a Saturday for a few hours and have some one on one time with professors to try to learn how to manage his magic, he was by no means out of the woods yet but he was well on his way, nagini had been a constant support for credence, and had taken up a job with newt as his assistant along with bunty, which worked it perfectly for credence who had taken quite a liking to the nifflers and would spend some afternoons in newts house playing with the little creatures.

Of course though fate was not yet finished with them so one sunny Saturday afternoon a once quite room and it's silence broken by the sound of sprocket falling into chairs & surprised voices.

"are you kidding me?"

"Really?"

"What are we doing back here?"

Then a familiar violence broke out in the room."

"Welcome back guys, okay so you should know the drill, find your seats and sit down."

"Now you will probably notice there are some people who are not here this time and the reason for hmthis is the next movie we are about to watch I'm afraid does not include them, however I would like to welcome yusus."

A middle age man made his way to the seat next to leta, who In turn was staring at her brother who she had not seen since she was a young girl.

Both siblings smiled at each other before turning to face he screen again.

"Now you should know this movie is gonna be a bit different, this movie is gonna be biased int he future, however, however this movie is in a completely different timeline, this movie taken place in a universe where you had never even watched the first movie, so don't be alarmed if your future is not what what you thought this is a different timeline do you, though I must must warn you no one is immune to death, if your gonna die in one timeline your also will perish in all your timelines, which is why after the movie concludes you will all have your memories wiped clean of this even ever taking place you will only remember after the contents of the movie have played out in your future."

It was Tina that spoke up.

"I'm sorry the way your speaking, is someone going to die."

She and everyone else was met with silence.

Before she could say any more the opening credits had begun


	2. The Great Escape

SCENE 1

EXT. NEW YORK, AMERICAN MINISTRY OF MAGIC—1927—NIGHT

AERIAL SHOT of New York and MACUSA building.

SCENE 2

INT. MACUSA BASEMENT, BARE, BLACK-WALLED ROOM—NIGHT

The long-haired, bearded GRINDELWALD sits motionless, magically fixed to a

chair. The air shimmers, charged with spells.

**People hold there breath, stunned at the state of one of the most powerful wizards as of yet. A far cry from the handsome, clean cut man they had seen only a few month prior to capture.**

ABERNATHY peers in at GRINDELWALD from the corridor.

A baby Chupacabra—part lizard, part homunculus, a blood-sucking creature of

the Americas—is chained to GRINDELWALD'S chair.

" **It's kinda cute"**

**Heads turn to Chasity in Disbelief.**

SCENE 3

INT. MACUSA, CORRIDOR BETWEEN CELLS—SHORTLY AFTER—

NIGHT

PRESIDENT SERAPHINA PICQUERY and RUDOLPH SPIELMAN walk at

pace toward an ominous-looking door past endless pairs of guards.

SPIELMAN

(Germanic)

. . . you'll be glad to be rid of him, I expect.

PICQUERY

We'd be more than happy to keep him here in custody.

SPIELMAN

Six months are enough. It's time for him to answer for his crimes in

Europe.

**"So these events will be taking place in around 2 months, I mean if the timeline is from the last movie." Tina spoke up.**

As they reach the door, ABERNATHY turns and acknowledges them.

ABERNATHY

President Picquery, Mr. Spielman, sir. Prisoner is secured and ready

to travel.

SPIELMAN and PICQUERY peer into the cell at GRINDELWALD.

SPIELMAN

You've thrown everything at him, I see.

PICQUERY

It was necessary. He's extremely powerful. We've had to change his

guard three times—he's very . . . persuasive. So we removed his tongue.

**There were more than a few grimaces at that statement.**

**"Eww that's disgusting so would they get a knife and just cut?"**

**Turning to the young child it was Theseus to answered her question.**

**"No we would use magic to remove it far less messy."**

SCENE 4

INT. MACUSA CELLS—NIGHT

Cells resembling cages rise in tiers. Prisoners chant and bang against the bars

as the bound GRINDELWALD is transported upstairs, suspended magically in

midair.

PRISONERS

Grindelwald! Grindelwald!

**Modesty huddle into Cordelia the sight of all the prisoners was a little scary.**

SCENE 5

EXT. MACUSA ROOFTOP—MINUTES LATER—NIGHT

A hearse-like black carriage, drawn by eight Thestrals, waits. AURORS 1 & 2

climb into the driver's seat, the rest force GRINDELWALD inside.

**Jacob looked at the carriage in awe of the transportation open to wizards.**

SPIELMAN

The wizarding community worldwide owes you a great debt,

Madam President.

PICQUERY

Do not underestimate him.

ABERNATHY approaches them.

ABERNATHY

Mr. Spielman, we found his wand hidden away.

He hands over a black rectangular box.

PICQUERY

Abernathy?

ABERNATHY

And we found this.

He holds a vial of some glowing gold substance in the palm of his hand.

SPIELMAN reaches for the vial, which hangs on a chain, and after a moment of

hesitation, ABERNATHY releases it.

**No one noticed the slight tense in albus dumbledore at the familiar item.**

Inside the carriage, GRINDELWALD raises his eyes to the roof as the vial is

passed to SPIELMAN.

SPIELMAN climbs into the carriage. AUROR 1 driving, AUROR 2 beside him.

The door closes. A series of padlocks emerges from the carriage doors. An

ominous drumroll of clicks as padlocks fasten themselves in place.

AUROR 1

Yah!

The Thestrals take off.

The carriage plummets, then soars away through torrential rain. More AURORS

follow on broomsticks.

" **wow it's like being on a broomstick."**

A beat.

ABERNATHY steps forward, holding the Elder Wand. He looks up at the

carriage, growing ever smaller. He Disapparates.

**Many tenses up, why would Abernathy have Grindelwald's wand.**

CUT TO:

SCENE 6

EXT. THESTRAL-DRAWN CARRIAGE—NIGHT

The underside of the carriage. ABERNATHY Apparates, clinging to the wheel

shaft.

" **he's going to break him free!" someone shouts.**

SCENE 7

INT. THESTRAL-DRAWN CARRIAGE—NIGHT

SPIELMAN and GRINDELWALD sit, eyes locked, flanked by AURORS, all

pointing their wands at GRINDELWALD. GRINDELWALD'S wand box lies on

SPIELMAN'S lap.

SPIELMAN holds up the vial, dangling from its chain.

SPIELMAN

No more silver tongue, eh?

But GRINDELWALD is transforming . . .

Those who had figured it out gasped in horror.

SCENE 8

EXT. THESTRAL-DRAWN CARRIAGE—NIGHT

ABERNATHY adjusts his grip underneath the carriage. His face too is changing.

His hair is turning blond and lengthening . . . he is GRINDELWALD. He raises

the Elder Wand.

**There were many cries of alarm.**

**This couldn't be happening**

**After all that went through to catch him**

SCENE 9

INT. THESTRAL-DRAWN CARRIAGE—NIGHT

GRINDELWALD'S rapid transformation into a tongueless ABERNATHY is

almost complete.

SPIELMAN

(shocked)

Oh!

SCENE 10

EXT. THESTRAL-DRAWN CARRIAGE—NIGHT

Now fully transformed, GRINDELWALD Disapparates from the underside of the

carriage . . .

. . . and Apparates next to the driver's seat, where he is spotted by AURORS 1 &

2\. GRINDELWALD points his wand at the carriage reins, turning the black

ropes into living snakes that ensnare AUROR 1 so he falls from the carriage,

back through the night sky, past the broomstick riders.

GRINDELWALD casts another spell so the black ropes of the reins bind AUROR

2 like a chrysalis, launching him forward in the air, then slingshotting him back

to knock AURORS 3 & 4 from the rear of the Thestral-drawn carriage. They fall

away into darkness.

SCENE 11

INT. THESTRAL-DRAWN CARRIAGE—NIGHT

All wands reverse their direction to jab dangerously at the necks of SPIELMAN

and the two remaining AURORS. SPIELMAN watches as his wand melts into

dust.

The carriage rocks dangerously, both doors open. As GRINDELWALD'S head

appears at the window, the panicking SPIELMAN opens the wand box on his lap.

The Chupacabra leaps out and sinks its fangs deep into SPIELMAN'S neck. He

wrestles it. The vial falls to the floor.

N **o One could speak all entranced by the whole spectacle that was in front of them.**

SCENE 12

EXT. THESTRAL-DRAWN CARRIAGE—NIGHT

GRINDELWALD drives the carriage down onto the Hudson River, chased by the

AURORS on broomsticks. The carriage wheels graze the surface of the water.

The broomstick riders are catching up.

**There were many pleas for the Aurors to catch up.**

GRINDELWALD touches the Elder Wand to the river and at once the inside of

the carriage begins to fill with water.

He lifts the carriage back up into the air.

SCENE 13

INT. THESTRAL-DRAWN CARRIAGE—NIGHT

Submerged in the water, the two AURORS, SPIELMAN, and ABERNATHY hold

their breath.

SPIELMAN attempts to grab the vial, which is floating loose in the water, but the

Chupacabra blocks his path. ABERNATHY, with hands still bound, manages to

capture the vial in his mouth.

SCENE 14

EXT. THESTRAL-DRAWN CARRIAGE—NIGHT

Still driving the carriage, GRINDELWALD swirls his wand in the air toward the

surrounding storm clouds. One by one, forks of lightning strike the broomstick

riders, knocking each in turn from the sky.

**All hope people had of his capture had all but been diminished.**

SCENE 15

INT. THESTRAL-DRAWN CARRIAGE—NIGHT

GRINDELWALD appears at the door and nods to ABERNATHY. He throws the

door open so the water pours out—along with the two remaining AURORS.

GRINDELWALD clambers inside and retrieves the vial from ABERNATHY'S

mouth by the chain, casting a spell that grants ABERNATHY a new forked tongue.

**There were a few grimaces at the now lizard like tongue.**

GRINDELWALD

You have joined a noble cause, my friend.

GRINDELWALD rips the little Chupacabra off SPIELMAN. It rubs its bloody face affectionately against his hand.

GRINDELWALD

I know. Okay. I know, Antonio.

He looks at it with distaste.

GRINDELWALD

So needy.

He then flings it through the door.

**There was outrage throughout the theatre, though none felt it more than newt, how someone could just through a creature who craved affection and care it was heartbreaking.**

**As if sensing his dilemma tina placed her hand on his clenched fist.**

He blasts SPIELMAN magically through the open door, then tosses a wand after

him.

SCENE 16

EXT. SKY OVER ATLANTIC OCEAN—NIGHT

As SPIELMAN falls, he manages to seize the wand and conjures an invisible

Slowing Charm. Sinking slowly toward the sea, SPIELMAN watches his carriage

streaking away in the direction of Europe.

**There were no words that could describe the silence that followed after.**

**Just when they thought they were safe**


	3. A hearing and the murder of three

**A hearing and the murder of three**

**So I'm alive! Feels like forever since I updated this Story but anyway another chapter done and dusted**.

SCENE 17

EXT. OVERCAST LONDON, WHITEHALL—THREE MONTHS LATER

—AFTERNOON

A gloomy silence. Establishing shot.

An owl flutters down into the Ministry.

SCENE 18

INT. MINISTRY OF MAGIC—AFTERNOON

NEWT SCAMANDER sits alone in a dingy waiting area, staring abstractedly

into space. After a moment, he feels something tugging on his wrist. He looks

down. Pickett, a Bowtruckle, is swinging on a loose thread in his cuff.

The thread snaps. Pickett falls. NEWT'S button rolls away down a corridor.

NEWT and Pickett watch it go.

A beat.

Then both chase after it. NEWT just gets there first. As he bends to pick it up, he

finds himself confronted by a pair of female feet.

**There were a few laughs at the mazoologists in question.**

LETA (O.S.)

They're ready for you, Newt.

He stands up. Face-to-face with LETA LESTRANGE, who is beautiful and

smiling, NEWT stuffs the button and Pickett into his pocket.

NEWT

Leta . . . what are you doing here?

LETA

Theseus thought it would be good if I became part of the Ministry family.

" **Who calls it the ministry family." Said someone.**

**Theseus was trying to hide the blush that covered his face.**

NEWT

Did he actually say the words "Ministry family"?

She gives a little laugh. They head off along the corridor. Tension. A lot of history.

NEWT

That sounds like my brother.

Theseus elbowed newt in the side.

LETA

Theseus was disappointed you couldn't come to dinner. Any of the nights we asked you.

NEWT

Well, I've been busy.

LETA

He's your brother, Newt, he likes spending time with you. And so do I.

NEWT spots Pickett climbing onto his lapel and holds out the breast pocket of

his coat.

NEWT

(to Pickett)

Oi, you! Hop in, Pick.

Pickett snuggles down.

LETA

(smiling)

Why do strange creatures love you so much?

NEWT

Well, there are no strange creatures—

" **Only blinkered people" both Leta and newt looked at each other and laughed**

NEWT & LETA

"—only blinkered people."

There were a few laughs.

She is smiling again. NEWT—just—reciprocates.

LETA

How long did you get in detention for saying that to Prendergast?

NEWT

You know, I think it was a month that time.

LETA

And I set off a Dungbomb under his desk so I could join you, do you remember?

They have come within sight of scary, official doors leading to the meeting room.

THESEUS SCAMANDER emerges.

NEWT

No, I actually don't remember that.

**There were a few curious looks, how the arrival of one person could be such a mood change.**

Rebuffed, she comes to a halt. NEWT walks away toward THESEUS, who is very

like NEWT, but more outgoing, easier in manner. THESEUS winks at LETA

before turning to NEWT.

THESEUS

Hello.

LETA

Theseus. We were just talking about Newt coming for dinner.

THESEUS

Really? Well . . . Look, before we go in there I—

NEWT

—It's my fifth attempt, Theseus. I know the form.

THESEUS

This isn't going to be like the other times. This is . . . Just try and

keep an open mind, will you? And maybe a little less—

A wordless gesture indicates Pickett, NEWT'S blue coat, and his messy hair.

NEWT

—like me?

**"What?" There were more than a few irked looks.**

**They went keen on how newt downgraded himself.**

THESEUS

(not without affection)

Well, it can't hurt. Come on, let's go.

SCENE 19

INT. MINISTRY OF MAGIC, HEARING ROOM—AFTERNOON

NEWT and THESEUS enter the room, where TORQUIL TRAVERS (harsh, mean-

spirited), ARNOLD GUZMAN (American), and RUDOLPH SPIELMAN (who is

still bruised from GRINDELWALD'S escape, the bloody bite visible on his neck)

are already sitting.

There were a few sighs of relief, at least he wasn't dead.

Two empty chairs, which NEWT and THESEUS take. The corners of the room

are in darkness.

TRAVERS

Hearing commences.

The quill begins to write. TRAVERS opens a file in front of him, which contains

pictures of NEWT'S Wanted pictures and of the post-Obscurial devastation in

New York.

TRAVERS

You want an end to the ban on your traveling internationally. Why?

NEWT

Because I like to travel internationally.

**There were a few laughs at newts comeback.**

SPIELMAN

(reading from his own file)

"Subject uncooperative and evasive on reasons for last international

trip."

All look at NEWT, waiting.

NEWT

It was a field trip. I was collecting material for my book on magical beasts—

TRAVERS

You destroyed half of New York.

" **True** "

NEWT

No, that's actually factually incorrect on two counts—

**A few laughs.**

THESEUS

(quiet but stern)

Newt!

NEWT stops, frowns.

GUZMAN

Mr. Scamander, it's clear you're frustrated and, frankly, so are we.

In the spirit of compromise, we'd like to make a proposition.

**Many were leaning in now curious as to what proposition the modesty could be willing to prove.**

NEWT glances at THESEUS warily. THESEUS nods: Listen.

NEWT

What kind of proposition?

TRAVERS

The committee will agree to lift your travel ban under one condition.

NEWT waits. SPIELMAN leans forward.

SPIELMAN

You join the Ministry. Specifically, your brother's department.

NEWT digests this, then:

Judging by the look newt gave of at this idea it was clear on his opinion of the whole matter.

" **Theseus while I admire what you do, merlin himself would have to resurrect before i ever joined your department."**

**Many agreed with the man.**

**However much he may have like to have newt working with him he knew newt wouldn't do it, not to say that newts comment didn't hurt a little bit.**

NEWT

No, I—that isn't my kind of—Theseus is the Auror. I think my talents lie elsewhere—

GUZMAN

Mr. Scamander. The wizarding and non-wizarding worlds have been

at peace for over a century. Grindelwald wants to see that peace

destroyed, and for certain members of our community his message

is very seductive. Many purebloods believe it is their birthright to

rule not only our world but the non-magic world as well. They see

Grindelwald as their hero, and Grindelwald sees this boy as a means

to make this all come true.

Hearing this, NEWT frowns, watching as CREDENCE'S face emerges in the

surface of the table.

NEWT

I'm sorry. You're talking about Credence as if he were still here.

**"So everyone thinks I died." Credence piped up.**

THESEUS

He survived, Newt.

NEWT stops cold, his eyes fixed on THESEUS. THESEUS nods.

THESEUS

He's still alive. He left New York months ago. He's somewhere in Europe. Where exactly, we don't know, but—

NEWT

And you want me to hunt Credence down? To kill him?

**Credence tensed you at this, his hands griping the arm rests to the point the he's starting to break through the leather to expose the Cotten underneath.**

**"Credence I would never agree to that."**

Out of the shadows in the corner comes deep, nasty laughter.

GRIMMSON

Same old Scamander.

NEWT reacts to the sound of the voice. GRIMMSON moves into the light.

Scarred, brutal, he is a beast hunter for hire.

There were a irked looks at this new man.

NEWT

(furious)

What's he doing here?

GRIMMSON

Taking on the job you're too soft to do.

GRIMMSON walks toward them while the ghostly image of CREDENCE

shimmers on the enchanted surface of the table.

GRIMMSON

(of CREDENCE)

Is that it?

NEWT rises furiously, storms toward the door.

TRAVERS

(calling after him)

Travel documentation denied!

THESEUS stares at the door as it closes. The committee looks unsurprised, turns

their gazes to the smirking GRIMMSON.

SCENE 20

INT. MINISTRY OF MAGIC, CORRIDOR—AFTERNOON

THESEUS chases after NEWT.

THESEUS

Newt!

NEWT stops. Turns.

THESEUS

(testy)

You think I like the idea of Grimmson any more than you do?

" **Well you didn't exactly make any attempt to speak up about your dislike**."

NEWT

Listen, I don't want to hear how the ends justify the means, Theseus.

THESEUS

I think you're gonna have to pull your head out of the sand!

NEWT

(exasperated)

Okay, right, here we go. What a selfish . . . irresponsible . . .

THESEUS

You know, the time is coming when everyone's going to have to pick a side. Even you.

**The sad truth of this whole thing**

**This was the thought of many.**

NEWT

I don't do sides.

THESEUS

Newt . . .

He turns to go, but THESEUS runs after him, grabs his arm to hold him back.

THESEUS

(pulling him in for a hug)

C'mere.

NEWT doesn't reciprocate but doesn't fight him off either.

THESEUS

(in NEWT'S ear)

They're watching you.

**A few backs straighten at this confession.**

SCENE 21

INT. MINISTRY OF MAGIC, HEARING ROOM—AFTERNOON

GRIMMSON is sitting in what was NEWT'S seat, facing the committee.

GRIMMSON

Well, gentlemen. I assume this means I have the job.

SCENE 22

EXT. SKYLINE OF UPMARKET QUARTER OF PARIS—AFTERNOON

Establishing shot.

SCENE 23

EXT. ELEGANT STREET OF 19TH-CENTURY PARISIAN HOUSES—

AFTERNOON

GRINDELWALD and ACOLYTES stand in the street. GRINDELWALD points his

cane at a particularly fine house.

A clatter announces the arrival of a horse-drawn hearse.

NAGEL, KRALL, CARROW, ABERNATHY, KRAFFT, ROSIER (female), and

MACDUFF approach the front door. KRALL opens it with his wand. The

ACOLYTES enter.

PARISIAN MAN (O.S.)

Chérie?

PARISIAN WOMAN (O.S.)

(worried)

Qui est là?

GRINDELWALD looks around the street, calm, waiting, tapping on the pavement

with his cane.

We see a green flash—the Killing Curse. The door reopens. Two black coffins

exit. GRINDELWALD watches as NAGEL and KRAFFT load the coffins onto the carriage.

**No one says a word shocked at this act by grindelwald.**

**How casually he can take life**.

SCENE 24

INT. GRINDELWALD'S HIDEOUT, DRAWING ROOM—AFTERNOON

GRINDELWALD surveys the elegant clutter left by the haut bourgeois family he

has just murdered.

GRINDELWALD

Yes. This will be suitable after a thorough cleanse.

(to NAGEL)

I want you to go to the circus now. Give my note to Credence, begin his journey.

Credence can't help but shiver at the mere thought of the man ever coming near him.

NAGEL nods and leaves.

ROSIER

When we've won, they'll flee cities in the millions. They've had their time.

GRINDELWALD

We don't say such things out loud. We want only freedom. Freedom to be ourselves.

ROSIER

To annihilate non-wizards.

GRINDELWALD

Not all of them. Not all. We're not merciless. The beast of burden will always be necessary.

We hear the sound of a child close at hand.

Now many occupants of the room backs straighten.

SCENE 25

INT. GRINDELWALD'S HIDEOUT, NURSERY—AFTERNOON

GRINDELWALD enters. A small child looks up, puzzled. GRINDELWALD

contemplates him for a moment, then nods at CARROW and turns to leave.

We see another green flash as GRINDELWALD closes the door.

**There is silence...**

**No one says a word...**

**What can they say...**

**The lengths one man would go to...**

**Albus looked down in shame, this was not the man he loved, this was someone else.**

**The resolve to capture Grindelwald stronger than ever.**

This had to end.


	4. Old Friends visit

SCENE 26

EXT. LONDON BACK STREET—EVENING

NEWT Apparates and walks on briskly beneath an increasingly stormy sky.

Seconds later, STEBBINS, an Auror, Apparates some yards behind him. They

have been playing this game for an hour. NEWT turns a corner into a darker

alleyway, peers back around the corner, and points his wand back at STEBBINS.

NEWT

(sotto voce)

Ventus.

STEBBINS is immediately caught in a hurricane for one. To the confusion and

amusement of passing Muggles, his hat flies away, he is almost knocked off his

feet, and cannot proceed.

**There were a few laughs which seemed to ease the heavy feeling that filled the room from the previous scene.**

Smiling slightly, NEWT withdraws his head, still leaning against the wall of the

dark alleyway, to find a single black glove hanging in the air in front of him. He

looks at it, expressionless. It gives a little wave, then points into the far distance.

NEWT looks to where it is pointing. High on the dome of St. Paul's Cathedral, a

tiny human figure raises its arm.

NEWT looks back at the glove, which makes as though to shake hands. NEWT

takes it, and he and the glove Disapparate—

" **Cool talking glove..." Jacob mumbles.**

SCENE 27

EXT. DOME OF ST. PAUL'S—EVENING

—Apparating beside a dandyesque forty-five-year-old wizard with graying

auburn hair and beard. NEWT hands back his glove.

NEWT

Dumbledore.

(amused)

Were the less conspicuous rooftops full, then?

DUMBLEDORE

(looking out over city)

I do enjoy a view. Nebulus.

A swirling fog descends over London.

They Disapparate.

SCENE 28

EXT. TRAFALGAR SQUARE—EVENING

DUMBLEDORE and NEWT Apparate and walk on past the great stone

Landseer lions. The darkening sky is becoming increasingly ominous. A flock of

pigeons rises into the air at their approach.

DUMBLEDORE

How was it?

NEWT

They're still convinced that you sent me to New York.

DUMBLEDORE

You told them I didn't?

NEWT

Yes. Even though you did.

**Theseus sighed in irritation, still not overly keen on how Dumbledore seemed to like using newt.**

A beat. DUMBLEDORE inscrutable, NEWT wanting answers.

NEWT

You told me where to find that trafficked Thunderbird, Dumbledore.

You knew that I would take him home and you knew I'd have to

take him through a Muggle port.

DUMBLEDORE

Well, I've always felt an affinity with the great magical birds.

There's a story in my family that a phoenix will come to any

Dumbledore who is in desperate need. They say my great-great-

grandfather had one, but that it took flight when he died, never to return.

NEWT

With all due respect, I don't believe for a minute that's why you told

me about the Thunderbird.

A noise behind them. The silhouette of a man appears out of shadows. They

Disapparate—

SCENE 29

EXT. VICTORIA BUS STATION—EVENING

Footsteps nearby. Both ready their wands, but the footsteps die away. They walk

on.

DUMBLEDORE

Credence is in Paris, Newt. He's trying to trace his real family. I take it you've heard the rumors about who he really is?

**This raises many questions.**

**Credence naturally the most curious, to find out where he came from...**

**He like his Sisters and the Weasley, they had taken all three of them in and treated them like family, but if there was a chance he could find out how he came to be in the care of ma all those years ago.**

NEWT

No.

DUMBLEDORE and NEWT board a stationary bus.

DUMBLEDORE

The purebloods think he's the last of an important French line, a

baby whom everyone thought lost . . .

**Theseus takes notice of Leta who stiffens up.**

**He silently grabs her hand in support.**

A look between them. NEWT is astonished.

NEWT

Not Leta's brother?

**Credence sent a sharp look to Leta who would not take her eyes of the screen not looking at anyone.**

DUMBLEDORE

That's what they're whispering. Pureblood or not, I know this: An Obscurus grows in the absence of love as a dark twin, an only

friend. If Credence has a real brother or sister out there who can take its place, he might yet be saved.

(beat)

Wherever Credence is in Paris, he's either in danger or a danger to others. We may not know who he is yet, but he needs to be found.

**Unable to take it anymore credence addresses the metaphorical elephant in the room.**

" **Are we related? Am I your brother."**

**He's met with tears in Leta's eyes**

" **Trust me, your are not my brother Corvus."**

**The little bit of hope he had felt before vanished.**

**How did she know he wasn't him, I mean he was only a baby at the time.**

And I rather hoped you might be the one to find him.

DUMBLEDORE conjures NICOLAS FLAMEL'S card from thin air and offers it

to NEWT, who eyes it with suspicion.

NEWT

What's that?

DUMBLEDORE

It's an address of a very old acquaintance of mine. A safe house in Paris, reinforced with enchantments.

" **A safe house... why would my brother need a safe house."**

**Albus didn't awnser**

**But the silence solidified its reason.**

" **No, Dumbledore I can't let you involve my brother in this."**

NEWT

Safe house? Why would I need a safe house in Paris?

DUMBLEDORE

One hopes you won't, but should things at some point go terribly

wrong, it's good to have a place to go. You know, for a cup of tea.

NEWT

No, no, no—absolutely not.

**Theseus poked his head up, maybe this time his either would do the responsible thing and stay in London.**

SCENE 30

EXT. LAMBETH BRIDGE—NIGHT

They Apparate onto a bridge.

NEWT

I'm banned from international travel, Dumbledore. If I leave the

country, they will put me in Azkaban and throw away the key.

DUMBLEDORE stops.

DUMBLEDORE

Do you know why I admire you, Newt? More, perhaps, than any man I know?

" **Is he guilting him?" Jacobs asked no-one in particular.**

(off NEWT'S surprise)

You don't seek power or popularity. You simply ask, is the thing

right in itself? If it is, then I must do it, no matter the cost.

He walks on.

NEWT

That's all very well, Dumbledore, but, forgive me for asking, why

can't you go?

They stop.

DUMBLEDORE

I can't move against Grindelwald. It has to be you.

(beat)

Well, I don't blame you, in your shoes I'd probably refuse too. It's

late. Good evening, Newt.

**Many were confused, dumbledore was one of the most brilliant wizards there are, If anyone can stop Grindelwald it's him.**

DUMBLEDORE Disapparates.

NEWT

Oh c'mon!

DUMBLEDORE'S empty glove reappears and tucks the business card bearing

the address of the safe house into NEWT'S top pocket.

NEWT

(exasperated)

Dumbledore.

SCENE 31

EXT. NEWT'S STREET—NIGHT

Establishing shot: a street of ordinary yellow brick Victorian houses. First

specks of rain. NEWT walks swiftly up the front steps but pauses just outside the

front door. The light in his sitting room is flashing on and off.

SCENE 32

INT. NEWT'S HOUSE—NIGHT

NEWT opens the front door cautiously. Inside, a baby Niffler is swinging from

the brass cord of a table lamp, causing the light to flicker on and off. The baby

Niffler succeeds in stealing the brass cord before spotting NEWT. It scampers

away, knocking all manner of objects to the floor.

NEWT spots a second baby Niffler sitting on a set of weighing scales, pinned

down by gold-colored weights it is clearly attempting to steal.

" **you had more of them?!" guess who said that.**

As the first baby makes it to the dining table, NEWT lightly drops a saucepan on

top of it, which continues moving across the table. NEWT tosses an apple into

the opposite weighing scale, sending the baby Niffler flying into the air. NEWT

catches both baby Nifflers as they fall, then tucks them into his pockets.

**There were a claps at newts display of catching the little thieves.**

Satisfied, NEWT heads toward the door to his basement but turns at the last

moment to see a third escaped baby Niffler climbing onto a bottle of champagne

on the counter. With a sense of inevitability, the champagne bottle pops and the

baby Niffler zooms toward NEWT on top of the cork, soaring past him and down

the stairs to the basement.

**Few laughed at the slow-motion shot of the baby Niffler**

SCENE 33

INT. NEWT'S BASEMENT MENAGERIE—MOMENTS LATER—

NIGHT

A gigantic hospital for magical creatures.

**Everyone was in aww of the hospital underneath newts house, that was complex magic for any wizards and for someone who didn't Finnish school.**

NEWT

Bunty! Bunty! Bunty, the baby Nifflers are loose again!

(to the Nifflers)

Oi! Oh.

BUNTY, NEWT'S assistant, hurries into view. She is a plain girl, crazy about

creatures, hopelessly in love with NEWT. She peels off the Nifflers with freshly

bandaged fingers.

**Newt sighed**

**How many times had he told her not to feed the kelpie it was to dangerous.**

She tempts the last baby Niffler—the champagne cork rider—with a gold

necklace, then tucks all three into a nest full of sparkling objects.

NEWT

Well done.

BUNTY

I'm so sorry, Newt, they must have picked the lock while I was

cleaning out the Augureys—

NEWT

Not to worry.

NEWT and BUNTY walk together among the enclosures.

BUNTY

Hmm . . . I've fed nearly everyone, Pinky's had his nose drops, and

—

NEWT

—And Elsie?

BUNTY

Elsie's droppings are nearly normal again.

NEWT

Wonderful. You can clock off now—

(seeing her fingers)

I told you to leave the Kelpie to me.

BUNTY

That wound needs more ointment—

NEWT

I don't want you losing fingers over it.

**The girls in the room awww as newts caring nature with bunty.**

NEWT marches toward a patch of black water, BUNTY trotting in his wake,

awash with emotion at his concern for her.

**In her seat Tina sat a little straighter, a weird feeling looking in her stomach.**

NEWT

Seriously, you go home now, Bunty. You must be exhausted.

BUNTY

You know the Kelpie's easier with two.

They approach the water. NEWT unhooks a bridle hanging beside the pond.

BUNTY

(hopeful)

Perhaps you should take off your shirt?

**There were many laughs at the poor girls embarrassment, and poor newt wondering why people were laughing.**

NEWT

(oblivious)

Don't worry, I'll dry off quickly enough.

NEWT smiles and jumps backward into the water. The Kelpie erupts: a gigantic,

semi-spectral horse intent on drowning NEWT, who grabs it around the neck and

manages to scramble onto its back as it thrashes.

The Kelpie dives, taking NEWT with it. BUNTY waits, frightened.

WHOOSH—NEWT bursts back out of the water and the Kelpie is bridled. Now

docile, it shakes its mane. BUNTY transfixed by the sight of NEWT in his wet

shirt.

**A wolf whistle was heard through the room.**

NEWT

Someone needed to let off some steam. Ointment, Bunty?

She hands it over. Still mounted, NEWT applies ointment to a wound on the Kelpie's neck.

NEWT

Bite Bunty again and there'll be trouble, mister.

As he dismounts, there is a crash from overhead. Both he and BUNTY look up.

BUNTY

(scared)

What was that?

NEWT

I don't know. But I want you to go home now, Bunty.

BUNTY

Shall I call the Ministry?

NEWT

No, I want you to go home. Please.

SCENE 34

INT. NEWT'S STAIRCASE—A MINUTE LATER—NIGHT

NEWT climbs the stairs to his living quarters, wand drawn, curious and

expecting the worst. He pushes open the door.

**Everyone's on the edge of there seat waiting to see who has invaded the mans house.**

SCENE 35

INT. NEWT'S SITTING ROOM—NIGHT

A spartan bachelor residence. NEWT'S real life is in the basement.

JACOB KOWALSKI and QUEENIE GOLDSTEIN stand in the middle of the

room, suitcases beside them, QUEENIE nervous and excited, JACOB unfocused

and over-merry, possibly drunk. He is holding the remaining pieces of NEWT'S

vase, which he has just broken.

**There were a few sighs of relief at it just being Queenie and Jacob.**

**Wait Jacob.**

**What's he doing here, he was obliviated in this universe.**

**Also what is wrong with him.**

QUEENIE

If you could just give it to me . . . Just give it to me, sweetie. Just

give it to me.

(whispering)

If you could just give this to me, sweetheart. Oh!

JACOB

(looking at NEWT)

He doesn't care. Hold it.

NEWT

St—

JACOB

(bellows)

HEY! NEWT! Get over here, you maniac.

He flings his arms around a delighted but awkward NEWT.

QUEENIE

We hope you don't mind, Newt? We let ourselves in—it's raining

out there—cats and dogs! London's cold!

NEWT

(to JACOB)

But you were supposed to have been Obliviated!

" **Yes will someone please explained what Jacob doing here."**

**Tena sent a pointed look towards Queenie know her sister she had somethingnn Bi to do with this.**

JACOB

I know!

NEWT

So . . . But . . .

JACOB

It didn't work, pal. I mean, you said it, the potion only erases bad

memories. I didn't have any. I mean, don't get me wrong, I had

some weird ones. But this angel . . . this angel over here, she filled

me in on all the bad parts, and here we are, I guess, huh?

**This gave many magical folk thoughts to think.**

**How many muggle sinew about the wizarding world...**

NEWT

(overjoyed)

This is wonderful!

He looks around, sure that TINA is here too.

NEWT

Is . . .Tina? Tina?

QUEENIE

Oh it's just us, honey. Me and Jacob.

NEWT

Oh.

" **You really don't hide disappointment well buddy." Jacob commented to newt in a friendly tone.**

QUEENIE

(uncomfortable)

Why don't I make us some dinner, huh?

JACOB

Yes!

SCENE 36

INT. NEWT'S SITTING ROOM—FIVE MINUTES LATER—NIGHT

The threesome sit at a table bearing NEWT'S mismatched crockery, the

atmosphere tainted by TINA'S absence. QUEENIE'S case lies open on the sofa.

QUEENIE

Tina and I aren't talking.

**The Goldstein sisters look at eachother confused.**

**Why wouldn't they be talking.**

NEWT

Why?

JACOB'S POV—pink and hazy, as though happily drunk.

**Jacob looked to the screen absolutely perplexed, what on Earth was wrong with him.**

**Queenie was trying to avoid the many pointed views she was receiving, most by now having guessed what she had done.**

QUEENIE

Oh well, you know, she found out about Jacob and I seeing each

other and she didn't like it, 'cause of the "law."

(miming quotation marks)

Not allowed to date No-Majs, not allowed to marry them. Blah,

blah, blah. Well, she was all in a tizzy anyway, 'cause of you.

" **Him?"**

NEWT

Me?

QUEENIE

Yeah, you, Newt. It was in Spellbound. Here—I brought it for you—

She points her wand at her suitcase. A celebrity magazine zooms to her:

Spellbound: Celebrity Secrets and Spell Tips of the Stars! On the cover, an

idealized NEWT and an improbably beaming Niffler. BEAST TAMER NEWT TO WED!

" **WHAT!"**

" **Who he marrying."**

**People looked to newt as if expecting him to be able to awnser there questions despite the man in question looked just as confused, not to mention trying to catch the attention on a certain witch who had all of a sudden refused to meet his eye.**

QUEENIE opens the magazine. THESEUS, LETA, NEWT, and BUNTY stand

side by side at his book launch.

QUEENIE

(showing him)

"Newt Scamander with fiancée, Leta Lestrange; brother, Theseus;

and unknown woman."

" **what the f..." Theseus spoke**

**Newt and lete look at the cover in confusion, when had they ever given the impression they were a couple let the alone engaged.**

NEWT

No. Theseus is marrying Leta, not me.

QUEENIE

Oh! Oh dear . . . well, see, Teen read that, and she started dating someone else. He's an Auror. His name's Achilles Tolliver...

**Now the which in question was receiving many stares.**

**Newt attempted to press down the feeling of disappoint.**

A silence. Then NEWT starts to notice JACOB'S state: Eating sloppily, he hums

to himself, then tries to drink the salt. QUEENIE takes it and puts his glass in his

hand, trying to cover.

QUEENIE

Anyway . . . We're real excited to be here, Newt. This is a—well,

it's a special trip for us. You see, Jacob and I, we're getting married.

**Not many people were surprised considering the two people in question were about to tie the knot.**

She shows him her engagement ring. JACOB tries to toast the moment and pours

beer all over his ear.

" **whats wrong with me."**

**Nobody wanted to answer the poor man.**

JACOB

I'm marrying Jacob!

Now sure he knows what's going on, NEWT glares at QUEENIE.

NEWT (V.O.)

(speaking telepathically)

You've enchanted him, haven't you?

" **what does he mean queenie."**

**Jacob looks to queenie for answers.**

QUEENIE

(reading his mind)

What? I have not.

NEWT

Will you stop reading my mind?

(speaking telepathically)

Queenie, you've brought him here against his will.

QUEENIE

Oh, that is an outrageous accusation. Look at him. He's just happy.

He's so happy!

" **queenie what babe you done to me." javib asks queenie now not more forcefully.**

**Queenie tries not meet his eyes but fails.**

" **i... Uh." the woman could not begin to speak.**

NEWT

(drawing his wand)

Then you won't mind if I—

QUEENIE jumps up and tries to shield JACOB from him.

QUEENIE

Please don't!

NEWT

Queenie, you've got nothing to fear if he wants to get married. We

can just lift the enchantment and he can tell us himself.

Several painful moments pass. At last she moves aside.

JACOB

What you got there? Whatchu gonna do? Whatchu gonna do with

that, Mr. Scamander?

NEWT

Surgito.

JACOB reacts as though to a bucket of cold water. He comes back to himself and

takes in his surroundings. He looks at NEWT.

NEWT

Congratulations on your engagement, Jacob.

JACOB

Wait, what?

NEWT looks at QUEENIE.

JACOB

Oh no.

He realizes he has been taken against his will. Slowly, he gets to his feet to face

QUEENIE.

She reads his mind. With a sob, she runs to close her case (several small objects,

including a lipstick and a fragment of torn postcard, fall out) and flees the

apartment.

**Jacob now turned to queenie.**

" **why are you running away from me, I might be a bit unhappy with being spelled but you don't have to leave."**

**Queenie turned to Jacob with tears in her eyes.**

JACOB

Queenie!

(turning to NEWT)

It's very nice to see you. Where the hell am I right now?

NEWT

Uh, uh, London.

JACOB

(frustrated)

Oh! I always wanted to go here!

(angry)

Queenie!

He runs after her.

SCENE 37

EXT. NEWT'S STREET—A MINUTE LATER—NIGHT

QUEENIE dashes out of NEWT'S house and off up the street, crying. JACOB

runs after her, livid.

JACOB

Queen, honey. Well, I'm just curious, when were you going to wake

me up? After we'd had five kids?

QUEENIE turns to confront JACOB.

QUEENIE

Why is it wrong to want to marry you?

JACOB

Okay—

QUEENIE

To wanna have a family? I just want what everyone else has, that's all.

JACOB

Okay, wait. We talked about this, like, a million times. If we get married and they find out, they're gonna throw you in jail, sweetheart. I can't have that. They don't like people like me

marrying people like you. I ain't a wizard. I'm just me.

QUEENIE

They're really progressive here, and they'll let us get married properly.

**The two looked at each other both glad now more than ever that they had decided to move to England.**

QUEENIE gestures to the street.

JACOB

Sweetheart, you don't need to enchant me. I'm already enchanted! I love you so much.

**The women in the room swoon at the declaration of love from Jacob.**

QUEENIE

Yeah?

JACOB

Yeah. But I can't have you risking everything like this, you know?

You're not giving us a choice, sweetheart.

QUEENIE

You're not givin' me a choice. One of us had to be brave, and you were being a coward!

JACOB

I was being a coward? If I'm a coward, you're a—

" **oh no"**

**Everyone seeing where this was going.**

She reads his mind.

QUEENIE

—crazy!

She reacts. He knows she "heard" him.

JACOB

I didn't say it . . .

QUEENIE

You didn't have to.

JACOB

No, I didn't mean it, sweetheart.

QUEENIE

Yeah, you did.

JACOB

No.

QUEENIE

I'm gonna go see my sister.

JACOB

Fine. See your sister.

QUEENIE

Fine.

**The two hold each other closer not wanting to believe what could have happened if they hadn't been allowed to move to England, the realisation that this very well could have been their future.**

QUEENIE Disapparates.

JACOB

No, wait! No! Queenie! I didn't mean it. I didn't say nothing.

But he is alone in the street.

**Many felt sorry for the man who had just lost his love.**

SCENE 38

INT. NEWT'S HOUSE—SHORTLY AFTER—NIGHT

NEWT'S miserable gaze falls on the piece of postcard. He crosses to pick it up,

then points his wand at it.

NEWT

Papyrus Reparo.

It reconstitutes into a whole. We see a picture of Paris.

Postcard text becomes visible onscreen.

TINA (V.O.)

My dear Queenie,

What a beautiful city.

I'm thinking of you,

Tina X

SCENE 39

INT. NEWT'S BASEMENT MENAGERIE—NIGHT

CLOSE ON JACOB as he enters, pushes open the door, stares around. Soaked

through, he has been searching the streets for an hour. NEWT is nowhere to be

seen

JACOB

Hey, Newt?

NEWT (O.S.)

Down here, Jacob. I'll be with you in a second.

JACOB starts peering into the enclosure. By the patch of dark water where the

Kelpie lives, NEWT has placed a sign for BUNTY: BUNTY, DON'T TOUCH UNTIL I GET

BACK. He walks on.

An Augurey caws mournfully at JACOB as he walks past.

JACOB

I got my own problems.

**That for a laugh out of a few people.**

NEWT (O.S.)

No, no, no. Back in, please. Right, wait, wait, wait, wait.

A sign on the Augurey cage reads: BUNTY—DON'T FORGET TO GIVE PATRICK PELLETS.

JACOB hears movement and changes direction, passing a snoozing griffin with

a bandaged beak: BUNTY: CHANGE DRESSING DAILY.

NEWT'S case sits beside the Niffler enclosure. On the inside of the lid is a large

moving picture of TINA he has torn out of a newspaper.

NEWT comes round the corner wearing his coat.

NEWT

Queenie left a postcard. Tina's in Paris looking for Credence.

JACOB

Genius. Queenie's gonna go straight for Tina.

(elated)

Okay, we're going to France, pal! Hold on. I'll get my jacket.

NEWT

I've got it.

NEWT has already pointed his wand at the ceiling. JACOB'S coat, hat, and case

drop onto the floor in front of him. JACOB is blasted with warm magical air,

which dries his rain-soaked clothes.

JACOB

(impressed)

Oh. Beautiful.

They leave. We close in on the note that has appeared: BUNTY, GONE TO PARIS. HAVE

TAKEN NIFFLERS WITH ME. NEWT.


	5. Circus madness

**Circus madness**

SCENE 40

EXT. PARIS, PLACE CACHÉE—NIGHT

A clear, starry night. TINA GOLDSTEIN, reinstated Auror on a mission of her

own, more elegant and confident than in New York but carrying private sadness,

walks toward the bronzed statue of a robed woman set on a tall stone base,

where witches and wizards dressed as Muggles are vanishing.

SCENE 41

EXT. PLACE CACHÉE, CIRCUS ARCANUS—NIGHT

Music, laughter, and conversation erupt around her. The circus is now in full

swing. A banner declares: CIRCUS ARCANUS: FREAKS AND ODDITIES! Several tents, a

big top in the middle.

TINA walks past the street performers working in the open, scrutinizing them. A

HALF-TROLL performs feats of strength. A few misshapen and particularly

downtrodden humanoids—UNDERBEINGS without powers but of magical

ancestry—shuffle around, taking money from the crowd. Horns hidden beneath

hats, unusual eyes beneath hoods; HALF-ELVES and HALF-GOBLINS juggle

and tumble.

**Jacob can't help but look in aww, same as the barebone children, who had never before seem a circus.**

A magnificent Chinese Zouwu, a giant catlike creature with a long, plumed tail,

is imprisoned in a cage. Fireworks burst overhead.

**Newt feels a sadness to the poor creature that is locked in a cage.**

SCENE 42

INT. CIRCUS ARCANUS, FREAKS' TENT—EVENING

NAGINI is kneeling at a trunk, stroking her circus dress. She must perform

shortly. CREDENCE hurries to her.

**Credence straightens up getting a good look at himself for the first time.**

CREDENCE

(whispers)

Nagini!

She turns.

NAGINI

Credence.

He hands her the note. She scans it, frowns.

CREDENCE

(whispers)

I think I know where she is.

NAGINI looks up, meets his eyes.

CREDENCE

We escape tonight.

**The two in question look at each other, why would hey be escaping are they prisoners.**

SKENDER comes into NAGINI'S tent.

SKENDER

Hey, I've told you to stay away from her, boy—did I say you could take a break? Clean out the Kappa.

**There were many glares at the man in question who happens to be in the middle row. Who hadn't spoken since the movies started.**

" **what id he's gonna be around my circus he needs to pay his way."**

SKENDER closes the curtain between CREDENCE and NAGINI.

SKENDER

(to NAGINI)

And you, get ready!

CREDENCE turns and looks up to a cage full of Firedrakes.

SCENE 43

INT. CIRCUS ARCANUS, BIG TOP—NIGHT

SKENDER is standing beside the circular platform/cage in the middle of a

crowd, many of whom are drunk.

SKENDER

Next in our little show of freaks and oddities, I present to you—a Maledictus!

He whips open the curtains. There stands NAGINI in a snakeskin dress. Men in

the crowd whistle and jeer.

**Credence glares at the screen, not liking the way the men treat Nagini as if she's some kind of animals.**

SKENDER

Once trapped in the jungles of Indonesia, she is the carrier of a blood curse. Such Underbeings are destined, through the course of their lives, to turn permanently into beasts.

TINA makes her way around the back of the crowd, looking for CREDENCE.

Elsewhere in the tent, an elegant, suited French African, YUSUF KAMA, is

scanning the crowd rather than watching SKENDER. There is a black feather in

the band of his fedora.

**Let's stares at her brother who she has not seen in years.**

SKENDER

But look at her. So beautiful, yes? So desirable . . . but soon she will

be trapped forever in a very different body. Every night, when she

sleeps . . . mesdames et messieurs . . . she is forced to become—

Nothing happens. The crowd jeers at SKENDER. NAGINI looks at SKENDER, a

look of hatred.

SKENDER

She is forced to become . . .

CREDENCE'S and NAGINI'S eyes meet across the big top.

**Everyone leans forward in their seats waiting for it to happen.**

ANGLE ON TINA, who has spotted CREDENCE. She starts to edge toward him,

trying not to attract attention.

ANGLE ON KAMA, who does the same.

SKENDER

She is forced to become . . .

SKENDER whips the bars. NAGINI closes her eyes. Slowly, she melts into coils.

SKENDER

Over time, she will not be able to transform back. She will be

forever trapped in the body of a snake.

NAGINI suddenly strikes at SKENDER through the bars and utters a cry in

Parseltongue. SKENDER crumples, bleeding. At the back of the tent,

CREDENCE smashes open the Firedrakes' cage and they soar to freedom like

fireworks. The big top catches fire—screams, panic, the crowd falls over one

another to reach the exit—

SCENE 44

EXT. CIRCUS ARCANUS, BIG TOP—NIGHT

The big top is on fire. Firedrakes weave patterns in the sky above it, trailing

showers of sparks. The fire has terrified and enraged the creatures. A hippogriff

is rearing and plunging while its handlers try to control it. Everywhere

performers are packing up, fast, elves shutting themselves into boxes, which fold

smaller and smaller.

TINA Apparates and, with a flick of her wand, puts out the fire.

The Zouwu crate is on fire and shaking perilously. The creature within roars and

howls. The Zouwu explodes out of it: a monstrous cat the size of an elephant,

five-colored, with a tail as long as a python. It has been horrendously abused:

Scars across its face, it is malnourished, limping, and now driven to a frenzy of

terror.

**Newt looks at the poor creature in dispare why anyone would want to hurt such a beautiful creature was beyond him.**

TINA spots CREDENCE in the distance.

TINA

Credence!

The Zouwu hobbles as fast as it can, away into the darkness. SKENDER knows

there is no catching it now. He runs to galvanize his workers.

SKENDER

Pack it up! Paris is done for us now.

SKENDER points his wand at the tent, shrinks it to the size of a handkerchief,

and pockets it.

TINA

(approaching SKENDER)

The boy with the Maledictus, what do you know about him?

SKENDER

(contemptuous)

He's looking for his mother. All my freaks think they can go home. Okay, let's go.

**Credence leans up in surprise, will he finally learn bout his family and why he was put with ma in the forts place.**

He leaps up onto a carriage and, as the crates and boxes are all magically

reduced to a few cases, clatters away into the night.

TINA is left on her own in what seems for a moment to be a deserted square.

Then she realizes that KAMA is standing behind her.

CUT TO:

SCENE 45

EXT. PARISIAN CAFÉ—NIGHT

TINA and KAMA sit together at an outside table. TINA is suspicious of KAMA.

TINA

I think we were both at the circus for the same reason,

monsieur . . . ?

KAMA

Kama. Yusuf Kama. And you think right.

TINA

What do you want with Credence?

KAMA

The same as you.

TINA

Which is?

KAMA

To prove who the boy really is. If the rumors of his identity are

correct, he and I are—distantly—related. I am the last male of my

pure-blooded line . . . and so, if the rumors are correct, is he.

**Credence looks forward in anticipation though deflates a little having leta earlier tell him they weren't related.**

KAMA takes The Predictions of Tycho Dodonus out of his pocket and holds it

tantalizingly before her.

KAMA

You have read The Predictions of Tycho Dodonus?

TINA

Yes. But that's poetry, not proof.

KAMA

If I could show you something better—more concrete—something

that proves who he is—would the Ministries of Europe and America let him live?

A beat.

TINA

They might.

KAMA

(he nods)

Then come.

He gets up and TINA follows.

SCENE 46

INT. GRINDELWALD'S HIDEOUT, DRAWING ROOM—NIGHT

GRINDELWALD exhales vapor from a glowing skull-shaped hookah. His

ACOLYTES watch as the smoke forms a vision of the Obscurus, a swirl of black

and flashing red, then resolves into an image of CREDENCE.

All look excited, except KRALL, who is sulky.

GRINDELWALD

So . . . Credence Barebone. Nearly destroyed by the woman who raised him. Yet now he seeks the mother who bore him. He's desperate for family. He's desperate for love. He's the key to our victory.

**Credence doe snot like the way he is being referred as, amd soo shrinks back in on him self modesty and Chasity look on in sadness.**

KRALL

Well, we know where the boy is, don't we? Why don't we grab him

and leave!

GRINDELWALD

(to KRALL)

He must come to me freely—and he will.

**Credence looks up, why would be ever follow that man again.**

GRINDELWALD returns his gaze to the vision of CREDENCE suspended in the

center of the drawing room.

GRINDELWALD

The path has been laid, and he is following it. The trail that will leadhim to me, and the strange and glorious truth of who he is.

KRALL

Why is he so important?

GRINDELWALD walks to face KRALL.

GRINDELWALD

Who represents the greatest threat to our cause?

KRALL

Albus Dumbledore.

**Eyes turn to said man**

GRINDELWALD

If I asked you now to go to the school where he is hiding and kill

him for me, would you do it for me, Krall?

(smiles)

Credence is the only entity alive . . . who can kill him.

**Credence looks up in fear and tens to the said Professor**

KRALL

You really think that he can kill the great—can kill Albus Dumbledore?

GRINDELWALD

(whispers)

I know he can. But will you be with us when that happens, Krall?

Will you?

" **I don't want it hurt anyone." Credence whispers out quietly**

" **you won't credence we won't let it happen." Cordelia Weasley gave credence a comforting squeeze.**

SCENE 47

EXT. WHITE CLIFFS OF DOVER—DAWN

NEWT and JACOB are walking with cases toward Beachy Head. Pickett pokes

his head out of NEWT'S breast pocket and yawns.

NEWT

Jacob, that man Tina's been seeing—

JACOB

Don't worry! She's gonna see you and she'll see the four of us

together, it'll be just like New York all over again. Don't worry

about it.

NEWT

Yes, but he's an Auror, Queenie said?

JACOB

Yeah, he's an Auror. So what? Don't worry about him.

A beat. They walk.

NEWT

What d'you think I should say to her, if I see her?

JACOB

Oh, well, it's best not to plan these things. You know, you just say

whatever comes to you in the moment.

A beat. They walk.

NEWT

(reminiscently)

She has eyes just like a salamander.

**While many would find that insulting, Tena felt a blush appear on her cheeks at the typical newt compliment.**

JACOB

Don't say that.

A beat. JACOB decides NEWT needs help.

JACOB

Nah, look, you just tell her that you missed her. Right, and then you

came all the way to Paris to find her. She'll love that. And then, tell

her you're losing sleep at night for thinking of her. Just don't say

anything about no salamanders, all right?

NEWT

Right. Okay.

JACOB

Hey, hey, hey. It's gonna be all right. We're in this together, pal.

Okay, I'm gonna help you out. I'm gonna help you find Tina, find

Queenie, and we'll all be happy again. Just like old times.

He spots a slightly sinister figure on the edge of the cliff: all black, tattered robes.

JACOB

Who is this guy?

NEWT

He's the only way I can leave the country without documentation.

**Theseus hides his face in his hand, sometimes he want to strangle his brother.**

Now, you don't suffer from motion sickness, do you?

JACOB

I don't do well on boats, Newt.

A beat.

NEWT

You'll be fine.

PORTKEY TOUT

Stir your stumps—it leaves in one minute!

Confused, JACOB looks around for the conveyance, ignoring the rusty bucket on

the ground.

PORTKEY TOUT

Fifty Galleons.

NEWT

No, we said thirty.

PORTKEY TOUT

Thirty to go to France, twenty not to tell anyone I seen Newt Scamander leaving the country illegally.

Angry, NEWT pays up.

PORTKEY TOUT

Price of fame, pal.

(checks watch)

Ten seconds.

NEWT steps into the BUCKET while holding onto Jacobs hand.

NEWT

(to JACOB)

Jacob.

JACOB

ARGH!

They are pulled away into thin air


	6. Searching for clues

SCENE 48

EXT. PLACE CACHÉE—DAY

NEWT and JACOB peer around the corner. A French POLICEMAN is standing

in front of the statue of the robed woman. JACOB is pale, sweaty, and still

clutching the bucket, which has come in handy.

JACOB

I didn't like that Portkey, Newt.

**There are sympathetic nods from some people.**

**Yh not everyone is good with portkeys.**

NEWT

(absently)

So you keep saying. Follow me.

NEWT points his wand at the POLICEMAN.

NEWT

Confundus.

The POLICEMAN lurches as though drunk, blinks, shakes his head, then giggles

and ambles off, raising his hat at disconcerted passersby.

**There were a few laughs at the Pliocene mans reaction.**

NEWT

Come on. That'll wear off in a few minutes.

NEWT leads JACOB through the statue and into Magical Paris. He puts his case

down and points his wand at the street.

NEWT

Appare vestigium.

The tracking spell materializes as a swirl of gold, which illuminates traces of

recent magical activity in the square.

**The muggles in the room stare in awe of the tracking spell.**

NEWT

Accio Niffler!

**Heads shot up.**

**Did they hear that correctly did newt just let the little trouble maker out willingly.**

The case bursts open and a Niffler jumps out.

NEWT

Get looking.

NEWT climbs onto the case and inspects impressions of creatures revealed in the

air, while the now-trained adult Niffler sniffs out clues.

NEWT

That's a Kappa. That's a Japanese water demon—

The Niffler sniffs around some shimmering footsteps. The Niffler has found the

place where TINA stood in front of the Zouwu.

NEWT sees a vision of TINA.

" **That's got to come in handy." Chasity piped up.**

NEWT

Tina? Tina!

(to Niffler)

What have you found?

He bends down to lick the pavement.

**Ummm**

" **..."**

**No one knows quite what to say.**

JACOB

(glancing around)

And we're licking the dirt now.

NEWT puts his wand to his ear and listens to a terrifying roar. He points his wand to the street.

NEWT

Revelio.

JACOB sees what NEWT is looking at: gigantic paw marks overlaying everything else.

JACOB

(intensely worried)

Newt . . . what made those?

NEWT

That is a Zouwu. It's a Chinese creature. They are incredibly fast and incredibly powerful. They can travel a thousand miles in a

day . . . and this one could take you from one part of Paris to the next in a single leap.

**Few people looked impressed.**

The Niffler sniffs around more shimmering footsteps—another place where TINA

stood.

NEWT

Oh, good boy.

(intensely worried)

Jacob, she was here. Tina stood here. She has incredibly narrow feet, have you noticed?

**There were a few laughs.**

**Tina felt her cheeks turn a bright red.**

" **Didn't realise your had such a thing for feet." Jacob commented to newt who similar to Tina was burning up.**

JACOB

Can't say that I have.

NEWT sees a vision of KAMA.

NEWT

Then someone came towards her.

NEWT points to a feather from KAMA'S hat, sniffs it, and looks troubled.

NEWT

Avenseguim.

The feather turns like the needle of a compass, pointing the way.

NEWT

Follow that feather.

JACOB

What?

NEWT

Jacob, follow the feather.

JACOB

Follow the feather.

NEWT

(of the Niffler)

Where is he? Ah, Accio Niffler.

The Niffler is carried by the spell back into the case. NEWT takes the case and

dashes off.

JACOB gestures toward the bucket in his hand.

" **Jacob you night want to let go of the bucket."**

**Jacob turned to Tina in confusion.**

" **why?"**

NEWT

Let go of the bucket!

JACOB drops the bucket with disappears and chases after NEWT.

" **Oh that's why, where did it go?"**

**Wizards looked to Jacob like he was mad momentarily forgetting he was a no maj.**

" **It will be sent back to the provider honey." Queenie spoke to Jacob The awkwardness of earlier forgotten.**

SCENE 49

EXT. PARIS—DAY

Establishing shot.

SCENE 50

EXT. PLACE DE FURSTEMBERG—MORNING

QUEENIE approaches the trees in the middle of the square. She coughs. The

roots of the trees rise up and form a birdcage elevator around her, which descends into the earth.

**Those who has never stepped foot in the french ministry looked on in awe, I mean the ministry of magic in England was spectacular and underneath the great Whitehall but let's not kid ourselves they apart from the visitors entrance which is through A phone booth on the corner of Scotland Yard, the daily job of standing in a public toilet and flushing yourself down the drain was not that pleasant, unless you just flooed your self in which most workers do, so. Despite how much it kicked there pride the french did have a classier way of entering there ministry.**

SCENE 51

INT. MINISTÈRE DES AFFAIRES MAGIQUES, MAIN LEVEL—

MORNING

QUEENIE descends into the beautiful Art Nouveau French Ministry of Magic,

its domed ceiling patterned with constellations. QUEENIE approaches

reception.

RECEPTIONIST

Bienvenue au Ministère des Affaires Magiques.

QUEENIE

I'm sorry, I don't know what you just said at all—

RECEPTIONIST

Welcome to the French Ministry of Magic. What is your business,

please?

QUEENIE

(loudly and slowly)

I need to speak to Tina Goldstein, she's an American Auror working on a case here—

The RECEPTIONIST flicks through a few pages.

RECEPTIONIST

We have no Tina Goldstein here.

QUEENIE

No, it's . . . I'm sorry there must be some sort of mistake. See, I know she's in Paris, she sent me a postcard. I brought it, I can show

it to you. Maybe you can help me find her here?

QUEENIE reaches for her suitcase, which falls open.

QUEENIE

It's just in here. Oh rabbits! If you can just wait one moment! I know it's in here somewhere. I definitely packed it. Where is it?

" **You left it at newts house." Leta spoke to Queenie.**

As the RECEPTIONIST gives a Gallic shrug, a genteel ELDERLY LADY crosses

into the shot behind QUEENIE. She has a distinctive bag in her hands—we

follow her into the elevator—where ROSIER stands waiting. As the doors close,

the ELDERLY LADY transforms into ABERNATHY and he pulls out an

elaborate box . . .

SCENE 52

EXT. PARIS BACK STREET—DAY

QUEENIE stands sadly on the street, holding an umbrella. Then—a double take

—did she just see NEWT and JACOB hurrying from one side street into another?

**Sympathy went out to the poor girl.**

JACOB

Could we at least stop for a coffee, or like a—

NEWT

Not now, Jacob.

**There were a few annoyed voice.**

" **if they had just stopped for a moment they would of seen her."**

JACOB

I don't know.

NEWT

This way. Come on.

JACOB

Pain au chocolat? Half a croissant, or like, a bonbon?

**That caused a few stomach to rumble.**

**Suddenly a tray of food appeared In front of each character.**

" **Oh I thought you guys might like some snacks."**

**Each tray had what seemed a bunch of sweets from honeydukes bringing back old memories from wizards who attended Hogwarts.**

**There was a box of Bertie Bott's Every Flavor Beans.**

" **Quick warning to the muggles by every flavour they mean every flavour."**

**3 chocolate frogs boxes each.**

" **don't worry it's just a spell."**

**A pumpkin pastie**

**A cauldron cake each**

**And a few sherbet lemons (much to the delight of one Albus Dumbledore.)**

**Everyone looked at there trays with glutton.**

**The rooms occupants started to dig into there snacks while watching the movie.**

NEWT

This way.

QUEENIE sets off down the street, trotting in her haste to catch up with NEWT

and JACOB.

We follow her, drawing ever closer, as she chooses from a bewildering number of

side alleys. So absorbed is she in trying to follow NEWT and JACOB—she can

now "hear" JACOB'S thoughts.

QUEENIE

(calls aloud, joyful)

Jacob! Jacob?

But he has gone. Exhausted and lonely, QUEENIE drops down to the curb in the

rain, deafened by the clamor of the thoughts of those in the crowd around her.

**Hearts go out to the poor girl.**

A hand falls onto QUEENIE'S shoulder. She turns, beaming. Her expression

turns to puzzlement.

ROSIER

Madame? Tout va bien, Madame?

**If it was possible the temperature in the room seemed to of plummeted what was rosier doing with Queenie.**

**Tina was worried about her sis the r more than ever now.**

SCENE 53

EXT. BIRD MARKET—LATER THAT DAY

CREDENCE and NAGINI walk into shot, looking around. CREDENCE steals birdseed as he passes a stall.

GRIMMSON watches them, unnoticed.

SCENE 54

EXT. RUE PHILIPPE LORAND—SHORTLY AFTERWARD—DAY

CREDENCE and NAGINI peer around the corner at the distant Number Eighteen. A light shines in the attic. A shadow moves in front of it.

CREDENCE

(scared)

She's home.

Now he is here, he is rooted to the spot. He dare not proceed. NAGINI prizes his hand from behind his back.

She leads him across the road.

**Credence now has his full attention on the screen the snacks forgotten, was this is mother.**

SCENE 55

EXT. REAR OF 18 RUE PHILIPPE LORAND—MINUTES LATER—DAY

A door stands open into the yard. They slide through it into a servants'

passageway. NAGINI'S nostrils flare. Her eyes dart around. There is something

wrong. They proceed toward the stairs.

**There was a tense silence in the room everyone wanting to see what would happen next.**

SCENE 56

INT. 18 RUE PHILIPPE LORAND, LANDING OUTSIDE MAID'S ROOM

—DAY

CREDENCE and NAGINI reach the landing. A door stands ajar. A shadow cast

by lamplight: what seems to be a woman, sewing. The shadow pauses in its

work. NAGINI is edgy, nervous, looking around.

IRMA (O.S.)

Qui est là?

CREDENCE can neither move nor speak. NAGINI realizes this.

NAGINI

C'est votre fils, madame.

She takes CREDENCE'S hand and pulls him gently into the room. Mended and

freshly washed clothing hang from racks on the ceiling. They can see the shadow

of a woman. NAGINI'S senses are hyperalert. She can smell danger. The shadow

stands.

IRMA

Qui êtes-vous?

CREDENCE

(whispers, terrified)

Are you Irma? Are you . . . ? Are you Irma Dugard?

No response. They move through the hanging fabric toward her.

CREDENCE

I'm sorry. Your name is on my adoption paper. Does this make sense? You gave me to Mrs. Barebone in New York.

A beat.

A tiny hand pushes the last piece of fabric aside. There stands IRMA: half-elf,

half-human. CREDENCE'S face reveals confusion, awful disappointment.

IRMA

(to CREDENCE)

I am not your mother. I was only a servant.

(smiling)

You were such a beautiful baby. And you are a beautiful man. I have missed you.

**Credence stares at the scene in wonder this lady new him as a baby, she knew about his past**

ANGLE ON GRIMMSON, watching them from a doorway.

CREDENCE

Why didn't they want me? But why is your name on my adoption paper?

IRMA

I took you to Mrs. Barebone because she was supposed to look after you.

**There were a few Scofts at that admission.**

**Yh she sure did look after him.**

NAGINI'S fear is increasing.

ANGLE ON THE DARK WALL BEHIND SWATHES OF FABRIC.

The perfectly camouflaged GRIMMSON emerges from the wall, raises his wand,

aims for the silhouetted figures, and dispatches a Killing Curse that sears

through the sheets and clothing, leaving smoldering holes. We hear a body fall.

NAGINI screams. CREDENCE'S shadow has vanished.

Grinning, certain of triumph, GRIMMSON slashes away the smoking fabric until

he stands facing—

IRMA, dead on the floor, and NAGINI, who backs away from him. Slowly, his

grin fading, GRIMMSON looks up at the ceiling. The Obscurus is swirling there

like thick black smoke.

In a flash, GRIMMSON conjures a domed Shield Charm around himself and

IRMA'S body.

And the Obscurus dives, pelting the Shield Charm like a million bullets, rising

and re-forming and diving again, but though the magical barrier trembles, it is

not broken.

Now the Obscurus expands in fury, smashing apart the attic like a tornado.

GRIMMSON smiles up at the Obscurus: We'll meet again. He Disapparates.

**No one says a word, in simple awe at the power of a tame d obscurel.**

**Meanwhile credence deflates the only link to his past is now dead.**

Mingling with the debris of the destroyed attic, the Obscurus slams inward and

CREDENCE re-forms. He stands looking down at the tiny body.

SCENE 57

EXT. ALLEYWAY—AFTERNOON

Fresh from IRMA'S murder, GRIMMSON stands in a covered alleyway beneath

a bridge over the Seine. GRINDELWALD appears.

**There were dirty looks at the screen of the traitor.**

GRIMMSON

She's dead.

GRINDELWALD walks toward him and halts when they are face-to-face.

GRINDELWALD

How did the boy take it?

GRIMMSON

(shrugging)

He's sensitive. The Ministry won't be happy when I tell them I've

missed. They know my reputation.

**Theseus growls at the screen knowing that since he won't remember any of these events grimmson will get away.**

GRINDELWALD

Listen to me. The disapproval of cowards is praise to the brave.

Your name will be written in glory when wizards rule the world.

And the clock is ticking faster. You watch over Credence. Keep him safe. For the greater good.

GRIMMSON

For the greater good.

" **Greater good my a..."**

" **What did she know about doing good"**

**There were many disapproval looks at the screen.**

**The film continued**


	7. Finding Tina

SCENE 58

EXT. PARISIAN CAFÉ—EVENING

A pair of lovers sit over coffee. NEWT is scanning every man who leaves the

café, checking the reaction of the feather trapped beneath the glass. JACOB

stares at the lovers.

JACOB

You know what I miss about Queenie? Everything. I even miss the

stuff that drove me nuts. Like the mind reading . . .

(he notices NEWT'S inattention)

. . . I was lucky to have someone like her even interested in anything I thought. You know what I mean?

**Queenie looked at the man next to her with total love, his Jacob could think any less of himself was baffling, most men when they find out she can read minds run for the hills, and yes she knows that the mind reading does annoy him sometimes yet he still loves her.**

**Throughout her teenage and into adulthood men have always gawked at her, but have never taken the chance to get to know her, yet Jacob is different, even if she turned old and grey the very next day , she was confident that Jacob would still love her.**

**Queenie would not trade Jacob for anything in the world no quidditch star, minister or auror.**

A beat.

NEWT

Sorry?

JACOB

I was saying, you're sure the guy is here that we're looking for?

NEWT

Definitely. The feather says so.

SCENE 59

INT. PARISIAN CAFÉ, BATHROOM—EVENING

A cramped and dirty bathroom. KAMA stares into the mirror, his featherless

fedora perched on the tap. Suddenly his face twitches. He raises his bandaged

hand to his eye and rubs it, shaking his head. He removes his hand and stares at

his reflection. We close in. A tiny tentacle is visible at the corner of his eye. He

whimpers in distress and gropes in his suit pocket for a small bottle of bright

green liquid, which he drops into his eye with a dropper.

Another whimper of pain as the tentacle withdraws. He looks at his reflection. It

seems normal. He puts his hat back on and leaves.

**There were a few shudders at the tentacle**

SCENE 60

INT. PARISIAN CAFÉ—EVENING

KAMA leaves the café. The feather points at him. NEWT lets it out and it flies to

KAMA'S hat.

JACOB

Is that the guy we're looking for?

NEWT

Yes.

NEWT and JACOB jump up to confront him.

NEWT

(to KAMA)

Er—bonjour. Bonjour, monsieur.

KAMA makes to carry on walking, ignoring NEWT.

NEWT

Oh wait, no, sorry. We were . . . we were actually just wondering if you'd come across a friend of ours?

JACOB

Tina Goldstein.

KAMA

Monsieur, Paris is a large city.

NEWT

She's an Auror. When Aurors go missing, the Ministry tend to come looking, so . . . No, now I suppose it would probably be better if we

just report her absence—

" **That's very Slytherin of you mr Scamander."**

**Albus Dumbledore with a twinkle in his eye sends newt a wink.**

KAMA

(deciding)

She is tall? Dark? Rather—

JACOB

—intense?

NEWT

—beautiful—

**The females in the room awww.**

**Tina blushes to her roots.**

**Theseus playfully nudges newt.**

JACOB

(hasty, off NEWT'S look)

—Yeah, what I meant to say—she's very—very pretty—

NEWT

She's intense too.

KAMA

I think I saw someone like this last night. Perhaps if I showed you where?

NEWT

If you wouldn't mind. That would be lovely.

KAMA

Sure.

" **Is anyone else getting weird vibes from this."**

**Everyone looked to Jacob.**

" **No just me... okay."**

SCENE 61

INT. KAMA'S HIDEOUT—EVENING

The interior of KAMA'S hideout is pitch black. The sound of water dripping. A

brief shaft of sunlight reveals TINA, sleeping lightly on the floor in her coat.

" **Ha!, Knew it!"**

**Jacob noticing the looks he receiving quickly sinks back into his chair.**

**Queenie lets out a small laugh.**

NEWT

Tina?

She wakes. A moment as NEWT and TINA stare at each other. Each has thought

of the other daily for a year. With no sign of KAMA, it seems she has been

rescued.

TINA

(joyful, disbelieving)

Newt!

TINA notices KAMA entering in the background and raising his wand. Her

expression changes.

KAMA

Expelliarmus!

NEWT'S wand flies out of his hand into KAMA'S. Bars form across the door,

imprisoning them.

KAMA

(through the door)

My apologies, Mr. Scamander! I shall return and release you when Credence is dead!

**Credence slowly sinks in on himself, just realising the man who wants to kill him is in this very room.**

**Kama turns to credence**

**Fearing what will happen, nagini now I snake form hisses at Kama daring in to try anything.**

**Albus, newt, Tina, Queenie, all three Weasleys and surprisingly Leta grab there wands ready to intervene if a fight was to break out.**

" **Kama you will not hurt credence!" The vioce in the air was back.**

**Kama understanding he was outnumbered took his hand away from his wand.**

TINA

Kama, wait!

KAMA

You see, either he dies . . . or I do.

**Heads turned to Kama**

" **What do you mean."**

**Leta Suddenly gasps.**

" **An unbreakable vow."**

**The silence that follows confirms her statement.**

**The room is once again filled with an uncomfortable silence, no one knows what to say.**

**Even the ones who are still new to the wizarding world keep quite, subconsciously sensing that what ever an unbreakable vow is was serious.**

He claps a hand to his eye.

KAMA

No, no, no, no. Oh no. No, no, no.

He jerks convulsively and slides to the floor, unconscious.

NEWT

Well, that's not the best start to a rescue attempt.

**A few chuckles**

TINA

This was a rescue attempt? You've just lost me my only lead.

**People sends Tina looks, it's clear she likes newt so why is she being so mean.**

JACOB launches for the door, trying to break it down.

NEWT

(innocent)

Well, how was the interrogation going before we turned up?

TINA throws him a dark look. She strides to the back of the cave.

**People look at the pair.**

**Both Tina and newt stare at the screen in question.**

**Why are they like that ?**

Pickett, who, unnoticed, has hopped out of NEWT'S pocket, successfully picks

the lock, and the bars swing open.

JACOB

Newt!

NEWT

Well done, Pick.

(to TINA)

You need this man, you say?

TINA

Yeah. I think this man knows where Credence is, Mr. Scamander.

As they bend over the unconscious KAMA, they hear an earth-shattering roar

from somewhere above them. They look at each other.

" **Well, that'll be the Zouwu." Newt states.**

NEWT

Well, that'll be the Zouwu.

**People laugh, newt looks down in embarrassment.**

**He knows that they are laughing with him and not at him, yet there's still a part of him that is still weary from his school days of being teased for his love of creatures.**

NEWT grabs his wand and Disapparates.

SCENE 62

EXT. PARISIAN BRIDGE—NIGHT

In the middle of the bridge is the Zouwu, terrified and lethal. It is too badly hurt

to keep running, but it is swiping at passersby, who are screaming and running

out of the way. Cars screech to a halt.

**Newt looks at the injured zouwu, assessing the damage done, thankfully it's not something that can't be undone in fact he could fix that up in no time.**

NEWT Apparates in the middle of the bridge, fifty yards from the Zouwu, holding

his case. A second later, TINA Apparates too, holding JACOB'S arm. JACOB is

sagging under the weight of the unconscious KAMA.

JACOB

(calls)

Newt, get out of there!

NEWT stoops down slowly and opens his case. The Zouwu snarls, crouches, and

begins to advance on NEWT.

Very slowly, so as not to alarm the Zouwu, NEWT lowers his arm into the case,

feeling for something. It takes him longer than he expected. Frowning, he

reaches deeper inside. The Zouwu advances. It bares its teeth.

**Theseus once agin worrying for him brothers safety reaches out to place a hand in his arm, just to reassure himself that his brother is night next to him.**

NEWT has found what he was looking for. He raises his arm. He is holding a

fluffy toy bird on a stick and rope.

**Okay**

**Not what they had been expecting.**

A beat. The Zouwu's eyes start to follow the bird.

The Zouwu's tail twitches. It crouches lower than ever. Then, with a sudden

bound, it soars through the air toward NEWT. Screams from the onlookers—

NEWT will surely be crushed—

But at the last moment he lets the bird fall into the case and the Zouwu sails after

it in a flash of rainbow color, python tail flailing and—WHAM—NEWT slams the

lid shut.

**Signs of relief can be heard.**

**Now that creature is out of public view and probably the best place he can be.**

Uproar from the crowd, sirens approaching, police cars converging on the

bridge. FLAMEL'S card flies up out of NEWT'S pocket.

**Said man pats close attention to the screen.**

TINA and JACOB, still carrying KAMA, run toward NEWT, and all four Disapparate


	8. Back to Hogwarts

SCENE 63

EXT. HOGWARTS—DAY

An ominous procession of AURORS marches up the drive toward the castle,

among them, THESEUS and LETA.

CLOSE ON AN UPPER WINDOW. STUDENTS staring down at the strangers,

nudging one another. The AURORS enter the school.

**Everyone is the room, mainly the muggles try to take in as much as possible, seeing as they have never actually been to Hogwarts want to see what a school of magic was like.**

SCENE 64

INT. DEFENSE AGAINST THE DARK ARTS CLASSROOM—DAY

DUMBLEDORE is teaching. A space in the middle of the room, all students

enjoying the spectacle. A large boy—MCCLAGGAN—is braced for attack, his

robes covered in dust, his tie knotted around his ear. He and DUMBLEDORE circle each other.

DUMBLEDORE

What were the three biggest mistakes that you made last time?

MCCLAGGAN

Caught by surprise, sir.

DUMBLEDORE

What else?

MCCLAGGAN

Didn't parry before counter-curse, sir.

DUMBLEDORE

Very good. And the last one . . . the most important one?

MCCLAGGAN looks away, thinking. DUMBLEDORE hits him unawares.

MCCLAGGAN flies into the air, DUMBLEDORE conjures a sofa, MCCLAGGAN

hits it and slides to the floor.

DUMBLEDORE

Not learning from the first two.

**Laughs fill the air as the boy hits the couch.**

" **I used to love your lessons Dumbledore."**

**Albus grins at Theseus.**

" **Well you certainly had a knack for duleiny Mr scamander, one of my most talented if I remember correctly.**

**Newt and Theseus shared smiles.**

**Even when they were young children Theseus had always had an interest for duleing.**

**He and there father would spend afternoons practicing, newt however would spend time with his mother helping her with the hippogriffs they bred.**

The class laughs. The door opens. TRAVERS, THESEUS, and four other

AURORS enter, YOUNG MINERVA MCGONAGALL behind them.

**The good mood in the air seems to depart with the arrival of the ministry.**

MCGONAGALL

This is a school, you've no right—

TRAVERS

I'm the Head of Magical Law Enforcement and I have the right to go wherever I please.

(to the students)

Out of here.

They don't move.

**Dumbledore can't help but smile at his student's willingness to stand by him.**

**Other ministry officials were not to pleased about this development, they would stand by Dumbledore rather than them was quite concerning.**

DUMBLEDORE

(to the students)

Go with Professor McGonagall, please.

They file out, curious or alarmed. The last out is MCCLAGGAN.

MCCLAGGAN

(to TRAVERS)

He's the best teacher we've got.

DUMBLEDORE

(quiet)

Thanks, McClaggan.

TRAVERS

Get out!

MCGONAGALL

Come, McClaggan.

The door closes.

TRAVERS

Newt Scamander is in Paris.

DUMBLEDORE

Really?

TRAVERS

Cut the pretense. I know he's there on your orders.

DUMBLEDORE

If you'd ever had the pleasure to teach him, you'd know Newt is not a great follower of orders.

**Half the people in the room nodded completely agreeing with that statement, many of them remembering times the magzoooligist had disobeyed orders, many arours can remember the numerous times Theseus has come into the office only to have a desk full of letters from some faction or another of things is little brother has done.**

**Leta,Dumbledore and Mcgonagall remember fondly of the young newt through out his days at Hogwarts, even from his first year the little stunts he Used to pull or the creature he would sneak into class to care for.**

TRAVERS tosses a small book to DUMBLEDORE, who catches it in one hand.

TRAVERS

(indicating the book)

You've read The Predictions of Tycho Dodonus?

DUMBLEDORE

Many years ago.

TRAVERS

(reads)

"A son cruelly banished

Despair of the daughter

Return—"

DUMBLEDORE

Yes, I know it.

TRAVERS

There's a rumor this prediction refers to the Obscurial. They say that

Grindelwald wants—

**Many throw looks to credence in wonder of why Grindelwald would want him, but then again a powerful being like credence...**

DUMBLEDORE

—a highborn henchman. I've heard the rumor.

TRAVERS

And yet Scamander appears wherever the Obscurial goes, to protect

him. Meanwhile you have built up quite a little network of

international contacts—

**Dumbledore rolled his eyes, already knowing where his will go.**

DUMBLEDORE

(quiet, steely)

However long you keep me and my friends under surveillance,

you're not going to discover plots against you, Travers, because we

want the same thing: the defeat of Grindelwald. But I warn you,

your policies of suppression and violence are pushing supporters

into his arms—

**Many looked towards travers who refused to meet anyone's eyes, yes he understood where they were coming from but his pride would never allow him to admit it.**

TRAVERS

I'm not interested in your warnings!

(controlling himself)

Now, it pains me to say it, because—well, I don't like you.

**A few chuckled**

TRAVERS and DUMBLEDORE both chuckle.

TRAVERS

But . . . you are the only wizard who is his equal. I need you to fight him.

A pause. The AURORS watch.

**Everyone leaning in to hear his awnser, though Dumbledore just cast his eyes down he already knew what what is awnser would be.**

**He couldn't fight Grindelwald**

DUMBLEDORE

I cannot.

TRAVERS

Because of this?

He casts a spell to show moving pictures of TEENAGE DUMBLEDORE and

TEENAGE GRINDELWALD. The AURORS are shocked.

**So are many I'm the audience, nearly everyone is looking at Dumbledore.**

**He knew Grindelwald as a teenager.**

**What?**

**Why's would someone as great as him converse with someone as evil as him.**

**Dumbledore wouldn't meet a anyone's eyes.**

The TEENAGE DUMBLEDORE and TEENAGE GRINDELWALD stare intently into each other's eyes.

TRAVERS

You and Grindelwald were as close as brothers.

" **No we were closer than brothers."**

**Many looked at the powerful wizard in confusion.**

**Other though had picked up on the hidden meaning, the looks they sent Dumbledore were one's of disbelief and shock.**

**Some were unfortunately in disgust, why would Dumbledore love such a vicious man.**

DUMBLEDORE

We were closer than brothers.

DUMBLEDORE is looking at the pictures. These memories are agony. He is full

of remorse but, almost worse: nostalgia for the only time in his life he felt fully understood.

**Dumbledore looks at the young Grindelwald in pain, yet all he can hear is the cries of Ariana.**

TRAVERS

Will you fight him?

DUMBLEDORE

(pained)

I can't.

" **Why not?"**

**Looks turned to the most unlikely of speakers.**

**Leta was starting at Dumbledore with confusion and a little anger.**

" **If anyone could of stoped him it would of been you, but your essentially letting him do as he pleases."**

**There was a moment of silence and people looked back and forth between the two. Though they wouldn't publicly admit it they agreed with Leta**

**Dumbledore just watched Leta with a resigned look.**

**But didn't say anything.**

TRAVERS

Then you have chosen your side.

He flicks his wand once more. Thick metal cuffs—Admonitors—appear on

DUMBLEDORE'S wrists.

TRAVERS

From now on, I shall know every spell you cast. I'm doubling the

watch on you, and you will no longer teach Defense Against the

Dark Arts.

**There were shouts of protest.**

**Many dirty looks were thrown at travers**

(to THESEUS)

Where's Leta? We need to go to Paris!

He storms out. The AURORS follow. THESEUS is last to the door.

DUMBLEDORE

(quietly)

Theseus.

THESEUS looks back.

DUMBLEDORE

Theseus, if Grindelwald calls a rally, don't try and break it up. Don't

let Travers send you in there. If you ever trusted me—

**People hope at Theseus trusts Dumbledore.**

TRAVERS (O.S.)

THESEUS!

THESEUS leaves.

SCENE 65

INT. DESERTED HOGWARTS CORRIDOR—DAY

The late afternoon sun falls through the windows as LETA walks along a

corridor populated only with memories. She stops beside an open door.

The Great Hall is lit with floating candles.

**The muggles look at the hall in aww.**

**Such beauty.**

SCENE 66

INT. EMPTY HOGWARTS CLASSROOM—DAY

LETA walks slowly into the classroom, then turns to look back into the corridor

and—

DISSOLVE TO:

SCENE 67

INT. EMPTY HOGWARTS CLASSROOM—SEVENTEEN YEARS

PREVIOUSLY—MORNING

13-YEAR-OLD LETA stands hiding inside the empty classroom while students in

cloaks trundle by, pushing trunks and carrying owls. It is the last day of the

winter term and nearly everyone is going home.

**Everyone now has there full attention on the screen.**

ANGLE ON TWO 13-YEAR-OLD GRYFFINDOR GIRLS pushing trunks.

GRYFFINDOR GIRL 1

You know she stays here every vacation. Her family don't actually want her home.

**Glares are thrown at the screen**

GRYFFINDOR GIRL 2

I don't blame them, she's so annoying. Even the name Lestrange makes me feel sick—

**Both If the scamander brothers offer Leta support for different reasons**

**Theseus for the love of this Fiance.**

**Newt for the love of this childhood friend.**

LETA flings herself into their path, pointing her wand.

13-YEAR-OLD LETA

Oscausi!

GRYFFINDOR GIRL 2'S mouth is sealed shut as though she never had one.

Triumphant, LETA flees the scene, pushing past shocked students.

**There were a few laughs the Gryffindor's karma.**

GRYFFINDOR GIRL 1

(screams)

Professor McGonagall! LESTRANGE HAS DONE IT AGAIN!

MCGONAGALL (O.S.)

Lestrange, stop running! LESTRANGE! Disobedient children. Stop!

Shame on the House of Slytherin. One hundred points! Two

hundred! Get back here, right now! Stop! Stop it! Stop it! You stop it! Get back here!

**There were many laughs now.**

GRYFFINDOR GIRL 1

Miss, it was Lestrange. She's horrible

**Ugh people roll there eyes at the annoying girl.**

McGONAGALL silences the girl.

**Laughs fill the room while some even clap.**

ANGLE ON LETA, sprinting around a corner.

She wrenches open a side door and plunges inside.

SCENE 68

INT. HOGWARTS CUPBOARD—SEVENTEEN YEARS PREVIOUSLY—

MORNING

13-YEAR-OLD LETA slams the door and stands there, ear against it. She hears

running, distant shouts. Then a sound behind her makes her jump and turn around.

13-YEAR-OLD NEWT is already in occupation of the cupboard. He has hidden a

couple of tanks here, one containing tadpoles, another Streelers. A lined

cardboard box serves as a nest for the raven chick he is cradling in his hand. It

wears a splint on its broken leg. NEWT and LETA stare at each other.

**People aww at the young scamander.**

13-YEAR-OLD LETA

Scamander . . . why aren't you packing?

13-YEAR-OLD NEWT

I'm not going home.

**Theseus turned to his brother.**

" **So that's why you didn't come home, mother and father thought you were angry at them."**

13-YEAR-OLD LETA

Why not?

13-YEAR-OLD NEWT

(of the raven)

He needs me. It was hurt.

**Many found young newt to be so adorable.**

LETA takes in the tanks, then the ugly little bird, to which NEWT now feeds an

earthworm.

13-YEAR-OLD LETA

What is that?

13-YEAR-OLD NEWT

A raven chick.

She is mildly intrigued now.

13-YEAR-OLD LETA

The raven's my family's emblem.

She watches him stroking the bird's head. As he places the chick gently in her

hands, she seems to see him plainly for the first time.

**Many are keen to see the the young wizards interacting.**

DISSOLVE TO:

SCENE 69

INT. DEFENSE AGAINST THE DARK ARTS CLASS—FOURTEEN

YEARS PREVIOUSLY—DAY

It is Boggart time. DUMBLEDORE supervises the line of teenagers advancing to

try their luck. "Riddikulus"—"Riddikulus"—gusts of hilarity as a shark becomes

a flotation device, a zombie's head turns into a pumpkin, a vampire turns into a

buck-toothed rabbit.

DUMBLEDORE

All right, Newt. Be brave.

16-YEAR-OLD NEWT moves to the front of the queue. The Boggart turns into a Ministry desk.

**There were a few laughs front he is who knew what that meant.**

DUMBLEDORE

Mmm, that's an unusual one. So Mr. Scamander fears what more

than anything else in the world?

16-YEAR-OLD NEWT

Having to work in an office, sir.

The class roars with laughter.

**Much like now**

DUMBLEDORE

Go ahead, Newt.

16-YEAR-OLD NEWT

Riddikulus!

NEWT turns the desk into a gamboling wooden dragon and moves aside.

DUMBLEDORE

Well done. Good job.

It is 16-YEAR-OLD LETA'S turn, but she doesn't move. She is terrified.

DUMBLEDORE

(kind, to LETA)

Leta, it's only a Boggart, it can't hurt you. Everyone's scared of something.

**Though Leta knows exactly what is to come. And is dreading her darkest and most shameful secret close to being discovered.**

A group of girls stands together, enjoying her fear.

GRYFFINDOR GIRL 1

I've been looking forward to this.

LETA steps forward. The Boggart transforms and at once, all laughter is

extinguished. Green light is reflected on every horrified face.

We see a shadow, with a tiny human hand. LETA lets out a sob and runs from the

room.

**Many are left speechless, not fully understanding what they just saw.**

SCENE 70

EXT. HOGWARTS LAKE, BOWTRUCKLE ISLAND—FOURTEEN

YEARS PREVIOUSLY—EVENING

NEWT finds LETA sitting by the lake, tearstained, eyes swollen. They look at

each other.

16-YEAR-OLD LETA

I don't want to talk about it!

He holds out his hand and she lets him pull her up. He leads her past a few trees

until they reach the one where Bowtruckles are climbing and fighting and

playing. They freeze at the humans' approach but relax when they recognize

NEWT. He holds out a finger. One of them jumps on.

16-YEAR-OLD NEWT

They know me, or they'd hide. They only nest in trees with wand-

quality wood, did you know that?

(beat)

And they have very complex social lives. If you watch them for

long enough, you realize . . .

He trails off. She is watching him, not the Bowtruckles. NEWT reaches across to

her, the Bowtruckle standing on his wrist. His hand grazes hers.

**Some looks were thrown between the two.**

DUMBLEDORE (V.O.)

Hello, Leta.

DISSOLVE TO:

SCENE 71

INT. EMPTY HOGWARTS CLASSROOM—AFTERNOON

LETA is still sitting at her old desk in the present-day classroom.

DUMBLEDORE enters.

DUMBLEDORE

This is a surprise.

LETA

(cold)

Finding me in a classroom? Was I such a bad student?

DUMBLEDORE

On the contrary, you were one of my cleverest.

LETA

I said bad, not stupid. Don't bother answering. I know you never liked me.

**I know why you didn't like me.**

**Leta thought**

DUMBLEDORE

Well, you're wrong. I never thought you bad.

LETA

You were alone, then. Everybody else did.

(very quietly)

And they were right. I was wicked.

**Theseus warped an arm round Leta in comfort, and have a look to anyone who dared look in there direction.**

A beat as he considers her.

DUMBLEDORE

Leta, I know how painful the rumors about your brother Corvus must be for you.

LETA

No, you don't. Not unless you had a brother who died too.

DUMBLEDORE

In my case, it was my sister.

**Those who didn't know Dumbledore had a sister turned to the great wizard.**

She stares at him, both hostile and curious.

LETA

Did you love her?

DUMBLEDORE

Not as well as I should have done.

**Yes Dumbledore thought, I should of been a better brother, I was so arrogant and stuck up back then, I lost sight of what mattered most.**

He steps toward LETA.

DUMBLEDORE

It's never too late to free yourself. Confession is a relief, I'm told. A great weight lifted.

She stares at him. What does he know—or suspect?

**Leta stares at Dumbledore, does he know about corvus, no it's not possible.**

DUMBLEDORE

(sotto voce)

Regret is my constant companion. Do not let it become yours.

**Everyone let those words sink in, each thinking about times in there lives that they regret.**


	9. Tea With a Criminal

SCENE 72

INT. GRINDELWALD'S HIDEOUT, DRAWING ROOM—END OF DAY

QUEENIE is on the sofa, beside a table of tea and cakes. She sets down her

empty teacup. We feel her slight awkwardness as it is instantly refilled by ROSIER.

**Tens griped her sister's hand.**

QUEENIE

Oh, no, thank you. You've been real kind, but my sister Tina's

probably worried sick about me, you know. Banging on all the doors

and things, so I think I'd better be going.

" **Yes darling please get out of there." Jacob gripes her other hand.**

**The whole movie has completely shaken him to the core.**

**Was this his and queenie's future...**

**No over his dead body**

ROSIER

But you haven't met your host.

QUEENIE

(a little wistfully)

Oh, are you married?

ROSIER

(smiling)

Let's say . . . deeply committed.

QUEENIE

(innocent)

You see, I can't tell if you're making a joke or if you're just . . . French.

**A few laughs**

ROSIER laughs and leaves. QUEENIE is confused. An enchanted teapot

hovering in midair nudges her, intent on refilling her cup.

QUEENIE

(to the teapot)

Hey, knock it off.

The door opens. GRINDELWALD enters. QUEENIE stands and the teapot and

cups smash to the ground. She draws her wand and aims it at GRINDELWALD.

**The room is in silence.**

**Jacob now has his arms around queenie, as if holding her could protect her from that vile man.**

QUEENIE

You stay right there. I know what you are.

He walks slowly toward her.

GRINDELWALD

Queenie, we are not here to hurt you. We only want to help you.

You're so very, very far from home. Far away from everything you

love. Everything that was comfortable.

QUEENIE stares, keeping her wand raised.

" **Queenie don't listen to anything he has to say, get out of there, please." Tena was desperately hoping her sister would be okay.**

**Not being able to stand seeing tens so distressed, forgetting the audience around them, newt pulled tens into his arms and held her there.**

**He pressed a kiss into her hair.**

**His heart was in his throat.**

GRINDELWALD

I would never see you harmed, ever. It is not your fault that your

sister is an Auror. I wish you were working with me now towards a world where we wizards are free to live openly, and to love freely.

GRINDELWALD'S hand touches her wand-tip and lowers it.

GRINDELWALD

You are an innocent. So go now. Leave this place.

**No one said a word.**

**People were stunned.**

**Until the silence was broken**

" **Arrest her"**

**Looks were thrown towards the travers.**

**Before anyone could react Queenie had been pulled behind Jacob, Newt , Tina and surprisingly both Theseus and Leta also had there Wanda pointed at travers.**

**Suddenly the voice filled the room again.**

" **Sorry everyone went out for coffee, now there will be no fighting in my cinema, please the last group I had in here got into a fight and I swear I was washing blood out of the carpet for a month, travers sit down and eat your popcorn, oh and just for insurance..."**

**All the aruors and travers wands had suddenly vanished.**

" **I will be keeping these till the end of the movie."**

SCENE 73

INT. HOGWARTS, ROOM OF REQUIREMENT—NIGHT

A spartan room. A large object stands against the wall, covered in black velvet.

DUMBLEDORE stands thinking for a moment, then approaches the covered

object and pulls the curtain down.

The Mirror of Erised is revealed. He has not looked into it for many years. Bracing himself, he now does so.

We see TEENAGE DUMBLEDORE and TEENAGE GRINDELWALD facing

each other in a barn. Both score their palms with their wands. Now bleeding,

they interlace their hands . . .

**Dumbledore doesn't notice a stray tear that runs down his cheek though others do but out of respect don't mention it.**

DUMBLEDORE turns his head away, fighting the impulse to cover the glass

again.

Bracing himself, he looks up.

From their bloody palms rise two glowing drops of blood, which mingle and

merge to create one. A metal shape begins to form around the droplet, becoming

more defined and intricate. It is GRINDELWALD'S vial.

**Everyone if fixated on the screen.**

**Some of the wizard who had been placed in Ravenclaw during there time at Hogwarts started rummaging through there brains to see if anything came to mind, a few figured it out and sent the professor looks of understanding and slight pity.**

The vision fades and the present-day GRINDELWALD stands smiling out of the

mirror, surrounded by blackness.

SCENE 74

EXT. PARIS, RUE DE MONTMORENCY—AFTERNOON

Establishing shot of NICOLAS FLAMEL'S house.

SCENE 75

INT. FLAMEL HOUSE—AFTERNOON

A creepy medieval drawing room. The tapestries sport moving figures and odd

runes. A large crystal ball in a corner shows dark clouds. TINA is trying to wake

up KAMA with a bottle of smelling salts. He moves slightly. The Predictions of

Tycho Dodonus slips out of his pocket onto the floor. TINA picks it up and opens

it to the prediction KAMA has underlined.

NEWT'S case is open on a table. The Zouwu roars from inside. TINA turns to

look at it, listening.

SCENE 76

INT. NEWT'S CASE, ZOUWU ENCLOSURE—AFTERNOON

A wild Chinese habitat. NEWT is curled up in dense undergrowth. The Zouwu

picks him up and dangles him from a claw.

**Theseus looks at his brother in worry.**

" **Don't worry, I'm just showing her that I'm not going to harm her ."**

SCENE 77

INT. FLAMEL HOUSE—AFTERNOON

JACOB enters and sees TINA watching the case. She hastily looks back at the

book.

JACOB

(calling into case)

Hey, Newt, buddy. Tina's up here. She's all by her lonesome and

maybe you want to come up and keep her company?

(beat)

**Many start to feel the awkwardness and let out a laugh, feeling relived they had a little laugh. Considering all of the heaviness that has been coming from the movie.**

I've been looking for food, and I ain't found any. I guess I'm gonna

go upstairs and try my luck in the—I dunno—the attic!

SCENE 78

INT. NEWT'S CASE, ZOUWU ENCLOSURE—AFTERNOON

Still dangling from the Zouwu's claw, NEWT soothes and coaxes her until he can

reach her harness and remove it. The Zouwu is finally freed from her chains.

NEWT

You're all right.

JACOB (O.S.)

Okay!

SCENE 79

INT. FLAMEL HOUSE—AFTERNOON

JACOB is about to leave when NEWT clambers back out of the case.

NEWT

She's responded well to the Dittany. She was born to run, you see. I think she's just lacking in confidence—

He glances at TINA. She pockets The Predictions of Tycho Dodonus and speaks,

not quite looking at NEWT.

TINA

Mr. Scamander, have you got anything in your case that might help

revive this man? I need to question him. I think he knows who

Credence really is. The scars on his hand suggest an unbreakable

vow—

NEWT

(eager, overlapping)

—unbreakable vow. Yeah, I noticed that too—

They examine the unconscious KAMA.

NEWT

Lumos.

NEWT'S and TINA'S hands brush as NEWT advances his lit wand-tip to look in

KAMA'S eye. Both jump. NEWT stares into KAMA'S eye. The tiny flicker of a

tentacle, swiftly withdrawn—

TINA

(gasps)

What was that?

NEWT

(serious)

There must be a water dragon in that sewer—they carry these parasites, you see. They . . . Jacob?

JACOB

Yeah?

NEWT

In my case, in the pocket there, you'll find a pair of tweezers.

JACOB

Tweezers?

NEWT

They're thin and pointy—

TINA

Thin, little pointy things.

" **Yes I know what tweezers are them you." Jacob said a little put out.**

JACOB

Yes, I know what tweezers are.

NEWT

(to TINA)

You might not want to watch this . . .

TINA

I can handle it.

NEWT succeeds in catching and pulling at the tentacle in KAMA'S eye.

**There are many disgusted looks thrown at the screen, Queenie swears she felt a little bile come up.**

NEWT

Come on. You're all right. Jacob, will you take that for me?

He has extracted something like a spindly, waterborne spider, which he hands to

JACOB.

JACOB

Ew! Calamari.

KAMA has started muttering, distraught, semiconscious.

KAMA

I must kill him . . .

TINA

Who? Credence? Who—?

**Credence by now used to someone trying to kill him isn't hunched up anymore but sits quietly with his foster parents and nagini.**

NEWT

It may take him a few hours to recover. The parasite's poison is quite strong.

TINA

I'll have to go to the Ministry with what I've got.

(a wobble in her voice)

It was nice to see you again, Mr. Scamander.

She strides from the room, leaving NEWT perplexed and upset.

**The two in question feel there hearts sink a-bit, to know that they put in all that hard work with trying to keep in touch and what not to only have it all go to hell.**

SCENE 80

INT. FLAMEL HOUSE, HALLWAY—AFTERNOON

JACOB follows TINA into the hall.

JACOB

Hey, hold on one second, will you? Well, hold on! Wait! Tina!

She leaves. As the front door closes, NEWT appears at the drawing room door.

" **Run after her newt." Theseus pleads to kis brother.**

" **I agree mr scamander, don't let her get away."**

" **Go on newt."**

JACOB

(to NEWT)

You didn't mention salamanders, did you?

NEWT

No, she just—ran. I don't know . . .

JACOB

(firm)

So you chase after her!

NEWT grabs his case. He leaves.

SCENE 81

EXT. RUE DE MONTMORENCY—END OF DAY

TINA is hurrying up the road. NEWT hastens to catch up.

NEWT

Tina. Please, just listen to me—

TINA

Mr. Scamander, I need to go talk to the Ministry—and I know how'll

you feel about Aurors—

**Jacob turned to newt.**

" **What'd you write about."**

**Newt didn't have anything to say, though considering his relationship with aurors in the past it mustn't of been a very good letter.**

NEWT

I may have been a little strong in the way that I expressed myself in that letter—

TINA

What was the exact phrase? "A bunch of careerist hypocrites"?

**The aurors looked at newt offended.**

**Theseus by now used to his brother opinion about his job didn't say much only kept his head down.**

NEWT

I'm sorry, but I can't admire people whose answer to everything that

they fear or misunderstand is "kill it"!

" **Mr scamander we protect the wizarding world, we train for three hard years to become aurors to protect you so please have more respect." Travers spoke down to newt.**

TINA

I'm an Auror and I don't—

NEWT

Yes, and that's because you've gone middle head!

**The men in the room shook there heads in dismay, knowing how that comment sounded like.**

TINA

(stopping)

Excuse me?

NEWT

It's an expression derived from the three heads of the Runespoor.

The middle one is the visionary. Every Auror in Europe wants Credence dead—except you. You've gone middle head.

A beat.

TINA

Who else uses that expression, Mr. Scamander?

" **No one " came a reply**

NEWT considers.

NEWT

I think it might just be me.

All lights are extinguished as every building is wrapped in black banners.

Muggles pass, totally immune, but a YOUNG RED-HAIRED WITCH nearby is

walking along. She, like NEWT and TINA, can see the banners.

TINA steps into the middle of the road, watching the black silk fall out of the sky

to shroud the surrounding buildings in darkness.

" **Grindelwald"**

TINA

It's Grindelwald. He's calling his followers.

We pan up one length of flowing black silk until we achieve an aerial view of

Paris. The entire city is being covered in GRINDELWALD'S dark banners.

SCENE 82

EXT. WIZARDING CAFÉ—END OF DAY

Witches and wizards hurrying outside to see what is invisible to Muggle

passersby.

SCENE 83

EXT. PARISIAN STREET—END OF DAY

QUEENIE reaches out to the nearest black banner, and an emblem of a white

raven appears beneath her touch.

SCENE 84

EXT. PLACE DE FURSTEMBERG—END OF DAY

NEWT still following TINA. They stand surrounded by the impressive scale of

GRINDELWALD'S banners.

TINA

It's too late. Grindelwald's come for Credence. He might already have him.

NEWT

(suddenly forceful)

It's not too late. We can still get to him first.

He grabs her hand and pulls her on.

TINA

Where are you going?

NEWT

The French Ministry of Magic.

" **Newt how are you going to get in, your posters are everywhere."**

**Newt keeps quiet. If he knows himself he already has an idea.**

**He try's not to look at Theseus.**

TINA

That's the last place Credence would go!

NEWT

There's a box hidden at the Ministry safe. It's a box that can tell us who Credence really is.

TINA

A box? What are you talking about?

NEWT

Trust me.

" **So newt your gonna try to break into the french ministry are you?"**


	10. Flamel

SCENE 85

EXT. DERELICT BUILDING, ROOFTOP—LATE AFTERNOON

CREDENCE is breaking up birdseed and feeding it to a small chick when

NAGINI appears behind him.

**The children coo at the baby bird.**

**Though some adults slightly cringe at the hairless creature.**

NAGINI

(urgently)

Credence.

She leads him back through the open window, out onto the roof. The Eiffel Tower

is visible behind them.

We pan around and see GRINDELWALD sitting on the rooftop near them both.

**Nagini in her snake from has coiled herself round credence in a protective manner as if to she were able to strike the very man down.**

GRINDELWALD

Shh.

CREDENCE

(whispers)

What do you want?

GRINDELWALD

From you? Nothing. For you? Everything I never had. But what is it

you want, my boy?

**Septimus turns to his honorary brother.**

" **Don't listen to him credence."**

**Credence looked to septimus the young boy had quickly wormed his way into credence's heart, infant all of the Weasleys had, they had welcomed him and his sister in with open arms, the burrow had become more of a home to him than when he lived with ma.**

CREDENCE

I want to know who I am.

**Credence couldn't help but agree with his onscreen self, he loves living with the Weasleys not to mention his adopted sisters and wouldn't trade the life he has now for anything , he can't help but wonder if he maybe has family out there maybe other siblings or grandparents, uncles, aunts, cousins...**

**Or just someone who had a picture of them.**

**Cordelia turned to speak to her foster son.**

" **you always have a place in our family credence we adore you, as well as your sisters, though I do understand, I can't promise much but if by the end of this movie and we still have our memories,**

**Me and phythagerous will see if we can find anything about your family,maybe you come from one of the 28 families, though I doubt it, you could be a half blood."**

**Credence gave his foster mom a slight smile.**

GRINDELWALD

This is where you will find proof of your true identity.

GRINDELWALD takes a piece of parchment from his pocket and throws it into

the air. The parchment flutters to CREDENCE and lands gently in his hand.

GRINDELWALD

Come to Père Lachaise tonight and you will discover the truth.

He bows, then Disapparates, leaving CREDENCE holding a map of Père

Lachaise cemetery.

SCENE 86

INT. FLAMEL HOUSE—END OF DAY

An uncomfortable JACOB is asleep in a chair beside the semiconscious KAMA.

KAMA is muttering.

KAMA

Father . . . why did you make me . . . ?

JACOB jolts awake as if from a bad dream.

JACOB

Wait! Wait—

Now fully awake, JACOB'S stomach begins to rumble.

A figure appears behind JACOB. Six-hundred-year-old NICOLAS FLAMEL

stands at the entrance to his alchemist's studio.

**Some people jump at the ghost like figure.**

FLAMEL

I'm afraid we keep no food in the house.

**Who doesn't keep food?**

JACOB yelps in fear.

JACOB

(terrified)

Are you a ghost?

FLAMEL

(amused)

No, no, I am alive, but I am an alchemist, and therefore immortal.

**This catches the attention of many wizards there are very few alchemist and even fewer immortal wizards.**

JACOB

You don't look a day over three-seventy-five. Hey, sorry we didn't

knock—

FLAMEL

No matter. Albus told me some friends might be dropping in.

(holding out his hand)

Nicolas Flamel.

**Many wizard recognise that name and look to the screen to get a glimpse of the famed alchemist.**

JACOB

Oh. Jacob Kowalski.

They shake hands. JACOB'S grip is firm—too firm for the alchemist's fragile

bones.

FLAMEL

Ooh!

JACOB

I'm sorry.

FLAMEL

It's all right.

JACOB

I didn't—

" **Why is he so sickly?" Jacob asks to no one in particular.**

**It is albus who responds to the confused muggle.**

" **Well he is 600 years old."**

" **But he's immortal." Modesty's Voice now joins in the conversation.**

" **That doesn't mean that his body won't age."**

**That thought plagued many minds.**

**Suddenly immortality didn't seem so appealing, living forever sure had it's perks, but have your body be reduced to nothing but skin and bone, becoming so frail that a mere handshake hurts you...**

FLAMEL looks over at the large crystal ball, in which dark billowing clouds and

flashes of lightning have appeared.

FLAMEL

Aha! At last, we see developments!

JACOB

(drawing closer)

I've seen one of these before. It was at the fair. There was this dame

there, and she had a veil. I gave her a nickel and she told me about

my future.

(beat)

She missed out on quite a bit, actually.

**Jacob let out a laugh**

" **Just a bit."**

We close in on the orb, into dark billowing smoke and flashes of lightning, into

the center where we see CREDENCE—

JACOB (O.S.)

Hey—wait a minute! I know him. That's that kid. That's Credence

—

—and then it becomes the Lestrange tomb, its stone raven prominent. Suddenly,

QUEENIE appears inside the tomb, sitting on a stone bench, waiting . . .

JACOB

Hey! That's Queenie! There she is.

(as if to QUEENIE)

Hi, baby!

" **She can't here you Mr Kowalski."**

(to FLAMEL)

Where is this? Is this—is this here?

FLAMEL

This is the Lestrange tomb. It lies in the cemetery of Père

Lachaise. . .

**Leta try's to ignore the looks that she's receiving.**

**Knowing why credence will be going to the vault.**

**She hoped to Merlin that it wasn't going to be what she thought.**

**To have people know her most shameful secret, her biggest regret.**

**Something that she swore she would take to the grave.**

**Not only having to relive those memories but to have everyone else finding out.**

**The judgement.**

**The looks of horror.**

**Not even Theseus knew of what happens that fateful night.**

**How could she even look anyone in the eye again.**

JACOB

(to QUEENIE in the crystal ball)

I'm coming, baby. Stay right there—

(to FLAMEL)

Thank you, thank you, Mr. Flamel!

JACOB clutches FLAMEL'S hands in gratitude.

FLAMEL

Ahh!

JACOB

Oh no. I'm sorry! I'm sorry, okay?

FLAMEL

Ouch.

JACOB

Oh—look after Mr. Tentacles for me.

He turns. The sofa is empty. JACOB runs out of the room into the hall. The front

door stands open. KAMA has escaped.

**Jacob tried not to blush at the looks he was receiving.**

**Queenie places a quick kiss to his cheek.**

" **It's okay honey."**

JACOB

Oh no. I'm sorry, I gotta go.

FLAMEL

Please, you must not go to the cemetery!

" **Jacob you really should of listens to flamel."**

**Jacob turned to Tena.**

" **What was I meant to do."**

But JACOB too runs off into the night.

BACK TO FLAMEL.

He has shuffled after JACOB, but on realizing he is gone, FLAMEL turns

anxiously back to the orb. Black flames are swirling around it.

FLAMEL shuffles back into his studio and opens a cupboard. We glimpse glass

vials, tubes, and the glowing Philosopher's Stone. He heaves from a shelf a

padlocked book embossed with a phoenix. He touches the padlock and it springs

open.

CLOSE ON THE BOOK as he flicks through it.

Each page holds a photograph captioned with a name. FLAMEL turns the

pages, but the subjects of all the pictures are missing.

FLAMEL

Oh dear—

DUMBLEDORE'S portrait is blank.

FLAMEL flicks open another page. EULALIE HICKS, a young American

professor at Ilvermorny, looks around, worried.

" **Hey I remember her."**

**Tena looked closer to the portrait.**

" **It's professor hicks, remember she was our potions professor."**

**Queenie didn't really remember much about school though she did have quite a good memory when it came to faces.**

EULALIE

What's happening?

FLAMEL

Exactly what he said would happen. Grindelwald rallies tonight at

the cemetery, and there will be death!

**Who said it would happen?**

**Most knew who it was but mainly the ministry present didn't want to admit it to themselves.**

**Didn't want to admit he was right.**

EULALIE

Then you gotta go!

FLAMEL

(panicked)

What? I haven't seen action in two hundred years . . .

EULALIE

You can do this, Flamel. We believe in you.

SCENE 87

EXT. PLACE DE FURSTEMBERG—DAY

TINA and NEWT stand in a nearby alleyway, looking out over the square where

tree roots previously rose to form the birdcage elevator to the French Ministry.

" **Newt you do realise your a wanted man right, the moment you step foot in the ministry people will know it's you."**

NEWT

The box is in the ancestral records room, Tina. So, three floors down.

NEWT rummages in his pockets and pulls out a tiny bottle with only a couple of

muddy drops left inside it.

TINA

Is that Polyjuice?

NEWT

(of the bottle)

Just enough to get me inside.

He looks down at his coat and finds one of THESEUS'S hairs on his shoulder.

He adds it to the mixture, drinks, and turns into THESEUS, still wearing

NEWT'S clothes.

**Newt try's to ignore the pair of eyes burning into the side of his head.**

**Theseus tried to sooth the aneurysm he knew was coming, Damn his little brother.**

**What's worse is he knows he can't stay angry with him, it was almost impossible to stay mad at the zoologist especially when he gave you his signature look, it all but has Theseus warped around his finger.**

TINA

Who—?

NEWT

My brother, Theseus. He's an Auror. And a hugger.

**Modesty turned to Theseus with a bright smile on her face.**

" **I like hugs to." The child received a small smile from said wizard.**

**Leta smiled at the interaction between the two.**

**Theseus was truly a wonderful wizard.**

SCENE 88

INT. MINISTÈRE DES AFFAIRES MAGIQUES, MAIN LEVEL—NIGHT

THESEUS exits a meeting room and strides toward LETA, who is waiting for

him.

LETA

What's happening?

THESEUS

Grindelwald's rallying. We don't know where, but we think it's tonight.

**Leta turns to her Fianće**

" **Please be carful."**

" **This hasn't happened yet."**

**Leta grabs his has and brings it to her lips placing a small kiss on his knuckles**

LETA and THESEUS kiss.

LETA

Be careful.

**Leta blushes**

THESEUS

Of course.

LETA

Promise me you'll be careful.

THESEUS

Of course, I'm going to be careful. Listen, I want you to hear this

from me. They think that Credence boy might be your missing brother.

LETA

My brother is dead. He died. How many times, Theseus?

THESEUS

I know, I know. And the records, the records will prove that, okay?

They can't lie.

TRAVERS

(sharply)

Theseus.

THESEUS leaves LETA and joins TRAVERS.

TRAVERS

I want every person at that rally arrested. If they resist—

**Albus frowned at travers.**

" **It will only push more people into Grindelwalds circle."**

**Travers refused to look at the professor, who's intense stare was beginning to unnerve him.**

THESEUS

Sir—forgive me . . . but if we go in too heavy, don't we run the risk

of adding to the—

TRAVERS

Just do it.

THESEUS catches sight of NEWT-AS-THESEUS and TINA walking, heads

down, through the Ministry typing pool. The brothers' eyes meet.

**Many people watch the scene with rapt attention not wanting to miss the brothers interaction.**

ANGLE ON NEWT-AS-THESEUS AND TINA.

NEWT-AS-THESEUS grabs TINA'S arm and makes a sharp turn down a

corridor. THESEUS sets off in pursuit, leaving LETA and the angry TRAVERS

(who hasn't spotted NEWT) behind. LETA backs away from the throng and slips

through a side door.

" **Somebody's in trouble now." Jacob jokes to newt.**

**He gets a few chuckles**

SCENE 89

INT. MINISTÈRE DES AFFAIRES MAGIQUES, CORRIDOR—NIGHT

NEWT-AS-THESEUS and TINA run along a corridor lined with pictures, the

Polyjuice Potion already wearing off NEWT.

NEWT

I don't suppose you can Disapparate on Ministry premises in

France, can you?

TINA

No.

NEWT

Pity.

The Potion wears off completely.

TINA

Newt!

NEWT

Yes, I know. I know there's—

At once, every portrait along the corridor turns into NEWT. An alarm sounds.

**People wince**

**That's not good.**

ALARM (O.S.)

Urgence! Urgence! Un sorcier suivi, Newt Scamander, est entré

dans le Ministère! Emergency! Emergency! A tracked wizard, Newt

Scamander, has entered the Department of Magic!

THESEUS moves into shot.

" **You better start running."**

THESEUS

Newt!

TINA

(running)

That's your brother?

NEWT

Yes—I think I may have mentioned in my letters we have quite a

complicated relationship—

**People who knew the two couldn't help but scoff a little, that was an understatement, there relationship had improved much in the last few months that was for sure.**

**Though for most it wasn't hard to forget how it was before when nearly every conversation between the two brothers ended up in some form of disagreement, or time when you could cut the tension between the two with a knife, of times when Theseus would come into the office stressed from dealing some illegal activity his brother had done or upset when his brother missed dinner.**

**They were so happy that the two were on the way to fixing there relationship.**

THESEUS

NEWT, STOP!

NEWT and TINA sprint through a second door, which leads—

SCENE 90

INT. MINISTÈRE DES AFFAIRES MAGIQUES, MAILROOM—NIGHT

—into a mailroom. Two elderly PORTERS are pushing mailcarts across the

circular room.

TINA

Does he want to kill you?

" **Frequently." Newt said to Tina.**

**Who has noticed that the man in question had her hand in his without having to be promoted.**

**Newt looked down and blushed to his hair and went to move his hand in embarrassment, though before he could let go, Tina held his hand firmly.**

NEWT

Frequently.

THESEUS

No!

As they sprint past the mailcarts, THESEUS sends a curse after them, sending

the mailcart boxes flying. TINA blocks the spell.

TINA

He needs to control his temper!

TINA points her wand. THESEUS is slammed down into a high chair that TINA

has conjured out of nowhere. Hands bound, THESEUS flies backward on the

chair into a meeting room, where he slams into a wall.

**Laughter fills the room at the war hero's expense.**

**Some were laughing harder that other, mainly Theseus's co-workers, it amused them to see there leader tied up, it was not often you could get the jump on the aoura so when it did happen it caused grey not for the aoura office.**

NEWT

(awed)

I think that might have been the best moment of my life.

**Theseus sent a mock glare to his younger brother.**

TINA laughs. NEWT and TINA sprint on


	11. The Truth Revealed

SCENE 91

INT. LESTRANGE MAUSOLEUM—NIGHT

An ancient tomb containing many sarcophagi is dominated by the grand marble tomb of LETA'S father.

ABERNATHY and MACDUFF enter carrying the bag retrieved from the French

Ministry and remove the elaborate box, which they plant in the mausoleum to be

found.

**Glares were pointed at the screen, at the two traitor's.**

SCENE 92

EXT. PÈRE LACHAISE CEMETERY—SHORTLY AFTERWARD—

NIGHT

JACOB is panting as he runs through the dark, deserted cemetery, looking for

the tomb he saw in the orb. A faint light in the distance shows him the Lestrange

mausoleum.

" **Why do I feel like something's gonna go wrong for those two." Someone asked to no one in particular.**

**Queenie and Jacob sat close to each other grasping each others hands, this whole movie had been one big nightmare.**

**Knowing that this could of been their future was nearly unthinkable.**

**What worried Jacob the most was the knot in his stomach, a knot that hasn't vanished since that start of the movie, something was gonna happen, he didn't know what but his gut told him something else was gonna happen.**

SCENE 93

EXT. LESTRANGE MAUSOLEUM—A MINUTE LATER—NIGHT

JACOB reaches the tomb. A stone raven on the lintel.

JACOB

(whispers)

Queenie?

No answer. He enters.

SCENE 94

INT. LESTRANGE MAUSOLEUM—NIGHT

ANGLE ON JACOB entering a small space full of shadows and sarcophagi. A

single lamp.

JACOB

Queenie, honey?

MALE WIZARD

Don't. Don't move.

A movement behind him. He whirls around. A silhouetted figure lunges at him.

**Queenie grips Jacobs hand tightly, praying to Merlin, Morgana or any other the higher beings to keep her Jacob safe.**

**Newt also looked to his friend in worry and slight guilt, he was the one who brought Jacob along, he was the one who let Jacob go out on his own, what ever happened to Jacob ,it was partly his fault.**

SCENE 95

INT. MINISTÈRE DES AFFAIRES MAGIQUES, RECORDS ROOM

ATRIUM—NIGHT

NEWT and TINA turn a corner into a beautiful atrium area in front of towering

Art Nouveau doors carved to resemble trees. A very old woman behind a desk

bars the way: MELUSINE.

MELUSINE

Puis-je vous aider?

NEWT

Er—yes, this is Leta Lestrange. And—I'm her—

TINA

Fiancé.

**There were a few winces.**

**People remembering that Tina still thought that newt and Leta were engaged.**

**Tens looked to newt**

" **I'm sorry I didn't allow you to explain earlier."**

**Newt sent Tina is usual smile.**

" **I should of wrote to you about that article, to tell you it was false."**

**In a bold move on newts part, he grabbed Tina's hand and pressed a kiss on the back of her hand.**

**Tina felt her cheeks redden, butterflies in her stomach.**

**She hasn't felt like this since she had been a school girl and the boy she had a crush on her asked to accompany her to one of the local wizarding villages near ilvermorny.**

An increased awkwardness between them as MELUSINE lifts an ancient book

onto the desk and opens it.

CLOSE ON MELUSINE'S WIZENED FINGER as it runs down a list of

surnames beginning with L.

MELUSINE

(pointing them on)

Allez-y.

TINA

(whispering)

Merci.

NEWT

(sotto voce, behind TINA)

Thank you.

NEWT grabs TINA'S hand and pulls her toward the doors into the records room.

MELUSINE eyes them suspiciously.

" **She's on to you, maybe you shouldn't of grabbed the hand of another woman that wasn't your "fiancé"."**

**Newt gave modesty a sheepish look.**

NEWT

Tina, about that fiancée business—

" **Tell her newt."**

TINA

(brittle)

Sorry, yeah. I should have congratulated you—

**Many were wincing at the time of Tina's voice, this wasn't gong well at all.**

The doors to the records office open. They enter briskly.

SCENE 96

INT. MINISTÈRE DES AFFAIRES MAGIQUES, RECORDS ROOM—

NIGHT

The doors close behind them, plunging them into darkness.

NEWT

No, that's—

TINA

Lumos.

An extraordinary acre of shelves stretches away from them, all carved to look

like trees, so that they seem to be on the edge of the forest. Pickett pokes his head

out of NEWT'S pocket and squeals in excitement.

TINA

Lestrange.

Nothing happens.

TINA sets off, NEWT right behind her. They weave in and out of the carved

shelves bearing rolls of parchment, the occasional prophecy, other mysterious

trunks and boxes.

NEWT

Tina—about Leta—

TINA

Yes, I've just said, I am happy for you—

NEWT

Yeah, well, don't.

**Theseus Turns to newt.**

" **Could of worded that better."**

**The younger of the two rolls his eyes but silently agrees with him, talking with other human beings had never been a strong suit of newt's who would much rather spend his time with creatures opposed to his fellow human species.**

She stops. Looks at him. What?

NEWT

Please don't be happy.

(in trouble)

Uh, no, no. I'm sorry. I don't . . . Uh, obviously, I—Obviously I

want you to be. And I hear that you are now.

**Winces**

Uh, which is

wonderful. Sorry—

(a gesture of hopelessness)

What I'm trying to say is, I want you to be happy,

**More winces**

but don't be happy that I'm happy, because I'm not.

(off her confusion)

Happy.

**Now everyone has is in discomfort at newts babble.**

(off her continued confusion)

Or engaged.

TINA

What?

NEWT

It was a mistake in a stupid magazine. My brother's marrying Leta,

June the sixth. I'm supposed to be best man. Which is sort of mildly hilarious.

**Theseus turns to face newt with a jokingly hurt face.**

" **Now why is that hilarious."**

TINA

Does he think you're here to win her back?

(beat)

Are you here to win her back?

" **No he's here to telly oh he loves you." Jacob shouts at the screen and in turn gets a few laughs.**

NEWT

No! I'm here to—

A beat. He stares at her.

NEWT

—you know, your eyes really are—

TINA

Are what?

NEWT

I'm not supposed to say.

Pickett is climbing out of NEWT'S pocket onto the nearest shelf. NEWT doesn't

notice.

**Exasperated eyes turn accusingly to newt.**

" **Newt What have we told you about losing your creatures."**

A beat. In a rush:

TINA

Newt, I read your book, and did you—?

NEWT

I still have a picture of you—wait, did you read—?

NEWT pulls the picture of her from his breast pocket and unfolds it. She is

inordinately touched. He looks from the picture to TINA.

NEWT

I got this—I mean, it's just a picture of you from the paper, but it's

interesting because your eyes in newsprint . . . See, in reality they

have this effect in them, Tina . . . It's like fire in water, in dark water.

I've only ever seen that—

(struggling)

I've only ever seen that in—

TINA

(whispers)

Salamanders?

" **Awwwww" many of the women swoon at the screen.**

**Men just siting there looking at their significant other or who there seated with.**

A loud bang as the doors to the records room fly open. They jump apart.

Somebody has entered the room. They draw back among the shelves.

TINA

Come.

ANGLE ON LETA in the doorway.

**Oh no many think.**

**There gonna be discovered.**

She walks inside, desperate. This is her last chance to hide evidence about

Corvus's death. The doors close behind her. She raises her wand.

**Many look to Leta, what is she doing here.**

**Leta looks down in hopeless, it's to late the box has already been found.**

LETA

Lestrange.

The shelves begin to move.

ANGLE ON MELUSINE, watching through the records room doors.

ANGLE ON NEWT AND TINA.

The giant trees are shifting all around them. They are almost crushed as the

Lestrange "tree" flies toward them. They hop onto a shelf.

ANGLE ON LETA.

The towering stack stops, swaying, in front of her. She stares. An empty shelf

confronts her. A mark in the dust where a box sat, a slip of parchment in its

place.

She picks up the slip and reads it aloud.

LETA

"Records moved to Lestrange family tomb at Père Lachaise."

She spots Pickett hiding among the deed boxes on the shelf.

**Many hold there breath waiting for the moment when she eats them out.**

LETA

Circumrota.

The record tower turns, revealing NEWT and TINA clinging to the shelves.

**People hold there breath.**

LETA

Hello, Newt.

NEWT

Hello, Leta.

TINA

(awkwardly, but kindly)

Hi.

**Sighs of relief are let out, she's not gonna tell.**

At that moment, MELUSINE enters the records room surrounded by growling

Matagots.

**Oh no**

NEWT

Oh no.

LETA

(scared)

What kind of cats are those?

" **Matagots" newt breaths**

" **But don't worry they won't attack unless provoked."**

NEWT

These aren't cats, they're Matagots. They're spirit familiars. They

guard the Ministry—but they won't hurt you unless you—

Panicking, LETA fires a spell at one of the cats.

" **Unless you do that"**

LETA

Stupefy!

Her spell not only fails, it causes the Matagots to multiply and become even

more aggressive.

**Many watch in fascination how will they escape this.**

NEWT

UNLESS YOU ATTACK THEM!

As each batch of Matagots is hit, they multiply and mutate. The situation has

become dangerous.

LETA

Oops.

NEWT

Leta!

LETA climbs over the balustrade to join NEWT and TINA on the shelf stack.

LETA

Reverte!

The towering stack flies backward as the Matagots pounce in a terrifying ebony

surge of teeth and claws.

The other "trees" of the records room forest spin and move as NEWT, TINA, and

LETA run through the room chased by the attacking Matagots.

But just as the Matagots seemingly lose the trail, all of the records room towers

retract into the floor, leaving the room empty. The Matagots prowl toward where

their prey must surely be standing, only to find—

NEWT'S case.

ANGLE ON THE CASE from above.

A beat.

An explosion as the Zouwu bursts out of the case, NEWT clinging to its back.

Roaring, it rears, slashing at the rising tide of Matagots, its mane flashing.

" **Well that's one way to do it, I suppose."**

NEWT

Accio!

NEWT'S case flies into his hand.

For a few seconds the Zouwu and NEWT vanish under the seething mass of cats.

They fight them off, the Zouwu's immense power unmatched, red tail swishing.

NEWT points his wand at the ceiling.

NEWT

Ascendio!

The towers rise once again from the floor, lifting NEWT and the Zouwu high up

into the air. Still fighting off the Matagots as the stacks tip and fall beneath the

sheer weight, the Zouwu clambers across to the balcony.

SCENE 97

INT. MINISTÈRE DES AFFAIRES MAGIQUES, MAIN LEVEL—A

MINUTE LATER—NIGHT

The Matagots give chase as the Zouwu gallops out of the room, leaving injured

and thwarted Matagots in its wake. The Zouwu carves a path of destruction

through the Ministry. It takes one last leap over the typing pool . . .

. . . and its immense magical power propels it up and out through the glass roof.

SCENE 98

EXT. PÈRE LACHAISE CEMETERY—NIGHT

NEWT and the Zouwu land in the cemetery. With one gigantic leap, the Zouwu

has taken them to freedom.

The few Matagots that have followed them growl and then shrink. Reduced to the

size of domestic cats in the Muggle environment, they "meow" pitifully.

" **Aww"**

**Or**

**Laughs**

**Could be heard through the room.**

NEWT opens his case as the Zouwu nudges him with affection.

NEWT

Whoa, whoa, whoa. Okay, wait. Hold it there, please. Come on. All

right, okay, wait. Okay.

LETA and TINA climb out of the case to observe NEWT coaxing the Zouwu.

TINA shakes the cat bird toy she has retrieved from the case. The Zouwu's eyes

light up.

Unnoticed by NEWT and TINA, LETA runs away into the darkness.

SCENE 99

INT. LESTRANGE MAUSOLEUM—A MINUTE LATER—NIGHT

LETA enters the ornate space lined with sleeping statues of dead Lestranges.

JACOB stands backed against the wall next to NAGINI in snake form, who is

repeatedly lashing out at KAMA, who is trying to get a clean shot at

CREDENCE.

KAMA

(to NAGINI)

Move back! Move! Out of the way! If I

must kill you as well as Corvus, I shall!

" **He's not Corvus." Leta day defectively.**

**This is it, she just knows**

**Her deepest shame is bout to be unraveled to everyone here, some of Yh ones people who will use this against her or forever look down on her.**

**No doubt someone here, especially one of the ministry workers will let it slip to the papers.**

LETA raises her wand at KAMA, who swings round to see her, wand pointed at

him—a standoff.

LETA

Stop!

She walks forward, stricken but determined, at last, to do the right thing. KAMA is mesmerized. She is his mother reborn. He moves toward LETA, studies her face in the darkness, transfixed and moved by the sight of her.

LETA

Yusuf?

KAMA

Is that really you? My little sister . . . ?

NEWT and TINA enter and exchange looks—another piece of the puzzle.

CREDENCE

(to LETA)

So he's your brother? Who am I?

LETA

I don't know.

He pushes past LETA and faces KAMA, unprotected.

CREDENCE

I'm tired of living with no name and no history. Just tell me my

story—then you can end it.

" **No."**

**Nagini Held onto credence as if her life depended on it.**

**The Weasley also had a grip on here want ready to defend there foster son from anyone who would wish him harm.**

KAMA

Your story is our story . . .

(gesturing to LETA)

Our story.

LETA

No, Yusuf—

KAMA

(determined)

My father was Mustafa Kama, a pureblood of Sénégalese descent

and most accomplished.

SCENE 100

EXT. PARK—1896—DAY

We see a beautiful woman, LAURENA, dressed in an exquisite gown, walking

through a park with her husband, MUSTAFA—clearly in love. A YOUNG

YUSUF by their side.

KAMA (V.O.)

My mother, Laurena, was equally high-bred—a noted beauty. They

were deeply in love. They knew a man of great influence, from a

famous French pureblood family. He desired her.

Watching from a distance, an intense wizard, CORVUS LESTRANGE SR.,

studies her beauty.

SCENE 101

INT. KAMA MANSION—1896—NIGHT

LAURENA'S gown changes to a nightdress. She is walking slowly downstairs, a

supernatural wind blowing.

KAMA (V.O.)

Lestrange used the Imperius Curse to seduce and abduct her . . .

**There were many gasps.**

**Wondering how anyone could get away with using one of the unforgivables.**

**But then many pureblood family's with the right influence and money can weasel there way out of consequence's**

The twelve-year-old KAMA runs after his mother, tugs at her hand, and tries to

pull her back upstairs. She throws him off. The front door flies open.

LESTRANGE SR. stands at the foot of the garden path. LAURENA walks toward

him. KAMA chases after her. LESTRANGE SR. points his wand at KAMA and

sends him sprawling.

LAURENA lies on the bed as IRMA carries a newborn swaddled in a blanket to

LESTRANGE SR.

**Many hearts went out to the father and son who lost there mother and wife equally.**

SCENE 102

INT. LESTRANGE MAUSOLEUM—NIGHT

KAMA

. . . that was the last time I ever saw her. She died, giving birth to a

little girl.

(to LETA)

You.

Tears start in LETA'S eyes, reliving the guilt she holds.

**Theseus Grabbed her hand offering her silent support.**

KAMA

The news of her death drove my father insane. With his dying

breath, my father charged me to seek revenge.

(determined)

Kill the person Lestrange loves best in the world . . . I thought at

first it would be easy . . . he had only one close relative . . . you. But

—

LETA

Say it . . .

**Many hearts sank, understanding what was gonna he said next.**

KAMA

. . . he never loved you.

**Leta brushed away tears.**

**Yes,**

**She knew her father never loved her, she knew he never even held her as a baby, passed her off to someone else to care for, even when she was a young girl, he made it clear he didn't want anything to do with her. In her childhood she could maybe count on one hand how many conversation's she had with him that lasted longer than 3 minutes, and it got worse once she went to Hogwarts, Christmas's were spent with a nanny or house elf for Company where as her father would be of on some retreat along with his new wife, and summer breaks were pretty much the same, after she left Hogwarts her father cut of all contact with her completely even insisting she move out.**

SCENE 103

INT. LESTRANGE MANOR, BEDROOM—1901—DAY

We reenter the story to find LESTRANGE SR. with a new, blond wife.

KAMA (V.O.)

He remarried not three months after her death. He loved her no

more than he had loved you . . . But then . . .

IRMA takes the BABY BOY who has just been born, and passes him to

LESTRANGE SR., who is delighted.

KAMA (V.O.)

. . . his son, Corvus, was born at last. And that man who had never

known love was filled with it . . .

**Parent looked in his shock, how a man who had such love for his son could have none for his daughter.**

SCENE 104

INT. LESTRANGE MAUSOLEUM—NIGHT

CREDENCE looks on, rapt—is this who he is? He's hungry to know more.

KAMA

All he cared about was little Corvus.

A beat.

CREDENCE

So. . . this is the truth? I am Corvus Lestrange?

**There was a murder of agreement round the room.**

**Credence had to be Corvus lestrange.**

KAMA

Yes.

LETA

No.

**People looked to Leta.**

**This clearly was her brother, even the nanny had confirmed it.**

**Why wouldn't he be Corvus.**

**Credence looked to his half sister? But she wasn't looking at him at all.**

**She wasn't looking at anyone, much preferring to stare at the ground, wish more than anything her pleas would be heard and the ground would open up and swallow her.**

CREDENCE stares from one to the other.

KAMA turns and looks at LETA. Her eyes are unfocused. These memories have

haunted her nightmares for years.

KAMA

(to LETA)

Realizing that Mustafa Kama's son had sworn revenge, your father

sought to hide you where I couldn't find you. So he confided you to

his servant, who boarded a ship for America.

LETA

He did send Corvus to America, but—

KAMA

His servant, Irma Dugard, was a half-elf. Her magic was weak and

therefore left no trace I could follow. I had only just discovered how

you had escaped when I received news I never expected . . . The

ship had gone down at sea . . . But you survived, didn't you?

**Eyes were glued to the screen, none noticed Leta desperately trying to wipe her eyes.**

(to CREDENCE)

Somehow, someone had pulled you from the water!

"A son cruelly banished

Despair of the daughter

Return, great avenger

With wings from the water."

There—

(points at LETA)

—stands the despairing daughter. You are the winged raven returned

from the sea, but I—I am the avenger of my family's ruin.

KAMA raises his wand.

KAMA

I pity you, Corvus, but you must die.

LETA

Corvus Lestrange is already dead. I killed him.

**Silence is heard through the room.**

**No one says a word.**

**All wondering if they had heard that correctly.**

**All in shock.**

**One by one, eyes turned to Leta who by now has given up trying to compose herself, instead letting them tear fall freely down her face.**

**Leta closed her eyes shut, hoping to block out the stairs, praying to wake up from this nightmare.**

LETA raises her wand.

LETA

Accio!

A heavy box, hidden in the corner of the mausoleum, comes crashing to her

through the dust. A series of clicks as cogs whirr . . . Puzzle-like, it falls apart.

LETA

My father owned a very strange family tree. It only recorded the

men . . .

We glimpse a tree with an orchid-like flower twisting around it.

LETA

. . . the women in my family were recorded as flowers. Beautiful.

Separate.

SCENE 105

INT. LESTRANGE MANOR, NURSERY—1901—NIGHT

IRMA lifts a baby from a crib and departs, watched by a desolate LESTRANGE

SR.

LETA (V.O.)

My father sent me to America, along with Corvus.

SCENE 106

INT. SHIP'S CABIN—1901—NIGHT

IRMA is asleep, CHILD LETA awake on a lower bunk, and BABY CORVUS

screaming in his crib.

LETA (V.O.)

Irma was to pose as a grandmother with two grandchildren . . .

The lights suddenly flicker on and off—CHILD LETA hasn't moved, she is still

looking at the screaming BABY CORVUS.

LETA (V.O.)

Corvus never stopped crying.

In the background there is a commotion as figures run along the corridor outside

the door. As CHILD LETA approaches BABY CORVUS, who continues to cry,

IRMA wakes. She goes to investigate the fuss and noise in the corridor.

LETA (V.O.)

I never wanted to hurt him.

CHILD LETA is transfixed by the baby.

LETA (V.O.)

I only wanted to be free of him. Just for a moment . . .

SCENE 107

INT. SHIP'S CORRIDOR—1901—NIGHT

The door of the opposite cabin is ajar. BABY CREDENCE is inside, fast asleep.

CHILD LETA slips inside. She swaps the babies.

LETA (V.O.)

Just a single moment.

SCENE 108

INT. SHIP'S CABIN—1901—NIGHT

CHILD LETA enters with BABY CREDENCE.

IRMA

Give him to me!

The ship lurches again. IRMA snatches BABY CREDENCE, not noticing the

switch amid the confusion. The cabin door bangs open to reveal a dark-haired

young woman wearing a nightdress and life jacket.

CREDENCE'S AUNT

Irma? They want us to put on life jackets!

She slips and slides into her own cabin and picks up BABY CORVUS, also not

realizing the babies have been switched.

SCENE 109

EXT. LIFEBOAT—1901—NIGHT

CHILD LETA, IRMA, and BABY CREDENCE are in one boat, CREDENCE'S

AUNT and BABY CORVUS in another.

A huge wave is approaching. CHILD LETA watches as the lifeboat bearing

CREDENCE'S AUNT and BABY CORVUS is overturned.

CLOSE ON THE SURFACE OF THE WATER. A few survivors reappear,

including CREDENCE'S AUNT, but not BABY CORVUS . . . CREDENCE'S

AUNT pulls off her life jacket so she can dive too . . .

She does not reemerge. We close in through the surface of the water, past the

drowning woman, and see the dark shape of a drowning baby trailing bubbles of

magical light as he sinks . . . and his figure becomes . . .

SCENE 110

INT. LESTRANGE MAUSOLEUM—NIGHT

. . . the drowning baby falling through sea-green light, hanging in the air in the

mausoleum. LETA has conjured it. It has haunted her all her life and now she

shows it to them.

The orchid representing LETA on the Lestrange family tree twists around the

branch labeled CORVUS LESTRANGE until the leaves wither and die.

**No one has words.**

**What could possibly be said.**

**Slowly accusing eyes turn to the distraught woman.**

**Theseus coming out of his shock, is quick to glares at the accusers, Dari them to try anything he's soon joined by newt, Tina, Jacob and Queenie who were all ready to defend the woman.**

NEWT

You didn't mean to do it, Leta. So it wasn't your fault.

LETA

Oh, Newt. You never met a monster you couldn't love.

**Theseus turned to Leta,**

**Grabbed her by the shoulders, looked straight into her tear filled eyes.**

" **You are not a monster, your the woman I love, the woman I want to spend the rest of my life with, the woman I would die for, don't ever think your any less."**

A long look between them, a look full of memories.

TINA

Leta, do you know who Credence really is? Did you know, when you swapped them?

LETA

No.

CREDENCE reacts.

**Credence let out a sigh "finally" he thought, he would finally know his past, and now he was back to square one.**

**He looked at the woman who essentially saved his life when he was a baby, Standing up he walked cautiously over to the woman, who was surrounded by her loved one, all whom gave him weary looks.**

**Kneeling down he went and hugged Leta.**

**He put all his feelings into the hug, all his gratitude.**

" **Thank you, you saved me that day, of it wasn't for you I would be dead, I don't think your a monster."**

**The two knelt embracing each other.**

**For the forts time I'm along time Leta let out a small smile.**


	12. The War Begins

An opening suddenly appears in the wall of the mausoleum. All stare at the steps

leading down into the earth. The sound of a gigantic crowd rumbles beneath them.

JACOB

Queenie?

Before anyone can stop him, he runs down the steps.

**Protests were shouted across the room.**

**Most of them aimed at the man in question.**

**Queenie faced Jacob**

**Cupped his face and spoke clearly to Jacob.**

" **Honey you shouldn't of left teeny and newt, it's very dangerous."**

**Jacob lovingly pushes some stray hair behind queenie's ear.**

" **I'd walk through the gates of hell for you honey."**

**With the pads of his thumbs Jacob wipes away the stray tears falling down her cheeks.**

**The two only have eyes for each other completely indifferent to the many stares their receiving.**

**It's was clear for all to see just how much to two loved each other.**

**One could only wish to share there love.**

NEWT and TINA dash after

him. LETA looks at KAMA, then follows NEWT.

KAMA hurries after her.

SCENE 111

INT. UNDERGROUND AMPHITHEATER—NIGHT

JACOB steps out of the narrow staircase into an underground amphitheater and

is confronted by a terrifying sight.

Thousands of witches and wizards mill around, some already seated on stone

benches. The atmosphere is edgy. Some are nervous but curious. Others excited,

still others ready for a fight. Masked ACOLYTES steward the crowd.

**The ministry workers look at the crowd in concern, so many witches and wizards, Grindelwald has many followers. If he's already got the general population interested in his views the ministry were in big trouble.**

ANGLE ON CREDENCE AND NAGINI entering the amphitheater.

Awed and intimidated by the sight, they are swept along in the swell of people

moving deeper into the auditorium.

NAGINI tries to hold CREDENCE back.

NAGINI

They're purebloods. They kill the likes of us for sport!

He carries on walking. NAGINI hesitates, then follows too.

Looking around, JACOB spots a familiar blond head—QUEENIE, being

accompanied to a front row seat by an ACOLYTE.

JACOB

(whispers)

Queenie.

**Tina leta out a sigh of relief her sister is safe.**

He pushes his way into the crowd.

ANGLE ON JACOB running toward QUEENIE.

She turns. Utter delight—

QUEENIE

Jacob! Honey, you're here! Hi!

**Queenie straightens up.**

**Something doesn't feel right.**

She flings her arms around his neck.

QUEENIE

(reading his mind)

Oh, honey, I'm so sorry, I never should have done it, I love you so much—

JACOB

And you know that I love you, right?

QUEENIE

Yeah.

JACOB

Good, now let's get the hell out of here.

**Tina has her hands in a prayer position praying to Merlin, Morgana or any other diety in hopes her sister leaves.**

**Newt has his arms around Tina offering her silent support.**

He tries to pull her back the way he came, but she tugs him back.

QUEENIE

(serious)

Oh, wait. Wait a second. I just thought maybe we could hear him

first. You know, just listen, that's all.

**Heads turn to queenie.**

**Many faces show concern and weariness.**

**Queenie is in shock at the screen version of herself.**

**What is she doing?**

**Tina and newt are speechless not knowing what to say, every nerve was on fire.**

**This isn't good.**

**Please**

**Please**

**No**

**Queenie**

JACOB

What are you talking about?

She pulls a confused JACOB into a seat beside her in the front row, clutching his

hand. JACOB looks around nervously at all the purebloods.

**Ministry officials finger their Wands.**

ANGLE ON NEWT AND TINA.

They are already in the crowd, TINA looking around for those they have

followed, but NEWT, perturbed, is starting to see the bigger picture.

TINA

It's a trap.

NEWT

Yeah. Queenie—the family tree—it's all been bait.

**Travers try's to ignore the piercing eyes that are trained into his form.**

**Theseus and the others of his department are fixated on the screen.**

**Dumbledore gives a pointed stair to travers.**

**No matter how much he try's to Warn people they never listen.**

He looks around. ACOLYTES are moving to cover all the entrances.

TINA

We have to find a way out of here, right now.

NEWT

You go find the others.

TINA

What are you gonna do?

NEWT

I'll think of something.

**Theseus has moved next to his brother and grasped his hand in his own bigger one's**

**His brother is in the presence of dangerous people.**

**His younger brother.**

He sets off. She moves more slowly into the crowd, looking for JACOB and

CREDENCE.

ANGLE ON AN ACOLYTE watching NEWT'S progress.

The lights dim. The crowd begins to cheer.

SCENE 112

INT. UNDERGROUND AMPHITHEATER—NIGHT

We follow GRINDELWALD onstage as the audience explodes with delight. Their

hysteria builds as he stands there, part demagogue, part rock star.

**This is a concern to many people,**

**Especially Those who recognise some friends or family members in the crowd of supporters.**

ANGLE ON TINA, edging through the crowd, searching.

She spots QUEENIE and, at a short distance, CREDENCE. Whom should she

approach first? She chooses CREDENCE, but as she moves, is blocked by an

ACOLYTE. They make eye contact. TINA knows she is wildly outnumbered.

Under the ACOLYTE'S gaze, she sinks onto a bench.

We pan over the crowd. We see QUEENIE, rapt, and JACOB, low in his seat and

scared . . . KAMA, who is skeptical . . . CREDENCE, transfixed, and NAGINI,

who trusts nobody . . . LETA, studying GRINDELWALD, wondering . . .

ANGLE ON GRINDELWALD, gesturing at the crowd to settle.

GRINDELWALD

My brothers, my sisters, my friends: the great gift of your applause

is not for me.

(off noises of denial)

No. It is for yourselves.

" **He's always been a very charismatically even when we were younger."**

**Others in the room agree they themselves sucked in by his charisma.**

ANGLE ON LETA, amid the crowd. She is not clapping, but she feels the pull of

GRINDELWALD'S charisma.

GRINDELWALD

You came today because of a craving and a knowledge that the old

ways serve us no longer . . . You come today because you crave

something new, something different.

ANGLE ON CREDENCE, listening.

GRINDELWALD

It is said that I hate Les Non-Magiques. The Muggles. The No-Maj.

The Can't-Spells.

Jeers and hisses from much of the crowd. JACOB sinks deeper into his seat.

**Much like he is doing now.**

**Honesty this prejudice isn't new to him.**

**He loves England and Queenie more than anything but it's not always easy to ignore the disgusted looks thrown his way, whenever he enters diagon ally , or even the three broomsticks.**

**Sure he gets many polite nods and smiles but every now and then he will hear comments such as mudblood, scum and other vile words thrown his way.**

QUEENIE is momentarily anxious; she seizes his hand: No, wait, listen—

GRINDELWALD

I do not hate them. I do not.

Silence from the crowd.

GRINDELWALD

For I do not fight out of hatred. I say the Muggles are not lesser, but

other. Not worthless, but of other value. Not disposable, but of a

different disposition.

(beat)

Magic blooms only in rare souls. It is granted to those who live for

higher things. Oh, and what a world we could make, for all of

humanity. We who live for freedom, for truth—

His eyes meet QUEENIE'S in the front row.

GRINDELWALD

—and for love.

" **I might ha the him but... you've got to admit, he's good." Chaisty speaks up, her meek voice, slicing through the quiet room much like a knife through butter.**

We pan across QUEENIE, now heart and soul his . . .

**Wands turn to the shaken witch.**

**Jacob attempts to place himself between the wand holders and Queenie.**

**As if this would be able to protect her from the ministry.**

**Tena , newt and surprisingly leta and Theseus wands point towards the workers, in support of Queenie.**

**As head of the department it's Theseus who takes charge.**

" **This woman here is not guilty of any crime what so ever for she has not yet joined and may never join if you will remember what the voice said to us."**

" **Well said my boy."**

**There is a blinding light and suddenly standing before them is a goddess of a woman.**

**With glowing gold skin, flowing White hair, green eyes and a purple gown with white angle wings.**

**She hovers of the floor.**

" **This Queenie won't be joining the Grindelwald and has no allegiance to Grindelwald or any other dark wizard. Even though no one here will remember this place or anything you have witnessed Queenie has no reason to join the dark side."**

**nobody speaks, all to entranced by the woman Infront of them.**

**The mystery lady rolls her eyes and scoffs before disappearing in a flash.**

SCENE 113

EXT. PÈRE LACHAISE CEMETERY—NIGHT

The figures of fifty AURORS appear in silhouette among the mausoleums. We

move in and see that THESEUS is one of them.

**The tension is clear time anyone.**

**Dumbledore sighed, this wasn't going to end well.**

**Sometimes he didn't know why he bothered, the minister never took his warnings.**

THESEUS

It isn't illegal to listen to him! Use minimum of force on the crowd.

We mustn't be what he says we are!

**Dumbledore gives an approving nod towards the auror.**

**It filled his heat to know that at lest Theseus understood.**

But on other faces we see nervousness, even fear, and on a few, a clear will to

fight, to avenge.

SCENE 114

INT. UNDERGROUND AMPHITHEATER—NIGHT

BACK TO GRINDELWALD onstage.

GRINDELWALD

The moment has come to share my vision of the future that awaits if

we do not rise up and take our rightful place in the world.

ROSIER appears onstage. Bowing, she presents the skull-hookah to

GRINDELWALD.

Total silence falls in the auditorium. GRINDELWALD is illuminated by the

skull's golden light. He inhales deeply through the tube. His eyes roll up into his

head. He exhales . . .

. . . and it is extraordinary. A gigantic Technicolor cloak seems to unfurl from his

lips across the high stone ceiling, bearing moving images—the crowd gasps—

**Just like in the room.**

Thousands of marching, booted feet . . . explosions, men running with guns . . .

CLOSE ON THE FACES OF THE CROWD, mesmerized and afraid, the light of

the vision playing across their faces.

CLOSE ON NEWT, stunned.

The vision of a nuclear blast rocks the amphitheater. It is horrifying. The crowd

feels it, is terrified. Screams, until the vision subsides, leaving murmurs of

panic . . .

**Horrified gasps will the rooms.**

**Some have tears In Their eyes.**

**The Weasley have covered modesty's eye's in an attempt to keep her from witnessing these horrifying events.**

**Other look like they will be sick.**

**Dumbledore has no twinkle in his eyes, only sadness.**

**Theseus has leta's hands gripped in his.**

**Jacob has his arm around Queenie trying to comfort not only her, but himself.**

**Newt and Tina have arms around each other.**

**Picket had hidden himself inside of newts pocket.**

CLOSE ON JACOB, horrified.

JACOB

Not another war . . .

The vision fades. All eyes return to GRINDELWALD.

GRINDELWALD

That is what we are fighting! That is the enemy—their arrogance,

their power lust, their barbarity. How long will it take before they

turn their weapons on us?

**What was even more worrying, looking around the room,some people seemed to be agreeing with the man.**

**That wasn't good.**

**He wasn't even here in person yet he was bringing people to his cause.**

We pan around the exits and see AURORS, unnoticed, entering the auditorium, fanning out among the crowd.

CLOSE ON THESEUS, who is worried: The situation is volatile and could go

badly wrong.

The crowd settles, agitated, expectant. They are waiting for some new,

extraordinary revelation.

GRINDELWALD

Do nothing when I speak of this. You must remain calm and contain your emotions.

(beat)

There are Aurors here among us.

**There were groans.**

**That's not good.**

Gasps. Heads turn. We see the AURORS looking around in panic. They are

wildly outnumbered. The crowd is hostile.

**This isn't going to go down well.**

GRINDELWALD

(to the AURORS who have just entered)

Come closer, brother wizards! Join us.

To mounting hisses and angry jeers, the AURORS know they have no choice but

to walk forward and show themselves.

**Newt feels his blood pressure dropping, a sweat is on his forehead.**

**He wonder if this is what Theseus feels** **every time newt gets into trouble.**

ANGLE ON LETA, turning to look.

She spots THESEUS. A long, charged look between them.

THESEUS

(to the other AURORS)

Do nothing. No force.

But one of the jumpiest young AURORS has made eye contact with the YOUNG

RED-HAIRED WITCH. She is angry, as twitchy as he is, fingering her wand.

**Theseus turns to the auror.**

" **Marcus you haven't been on this team long, however your letting yourself get paranoid and a paranoid auror is not good."**

GRINDELWALD

They have killed many of my followers, it is true. They caught and

tortured me in New York. They had struck down their fellow

witches and wizards for the simple crime of seeking truth, for

wanting freedom . . .

He is deliberately playing on the unstable YOUNG RED-HAIRED WITCH'S

feelings. The YOUNG AUROR raises his wand a few inches. He can sense her

desire for violence—

" **Marcus I'm warning you." Theses growls out the clearly nervous new recruit.**

GRINDELWALD

Your anger—your desire for revenge—is natural.

And it happens. She raises her wand, but the YOUNG AUROR curses first. To

the horror of her companions, she falls, dead.

**Theseus has now turned his full flair onto the young Man.**

**Marcus has the sense to be remorseful.**

**He's screwed**

" **Marcus I assure you that if we weren't going to forget this whole situation I would have you badge on my desk as soon as we got back, but that's not going to happen, but you clearly don't have the sensibility to handle being an auror."**

GRINDELWALD

No!

Screams fill the auditorium. GRINDELWALD ascends into the crowd, which

parts for him. He kneels and pulls the YOUNG RED-HAIRED WITCH'S limp

body into his arms.

GRINDELWALD

(to her friends)

Take this young warrior back to her family.

The Niffler, unnoticed, wriggles out from beneath GRINDELWALD'S boot and

disappears into the crowd.

**Newt looks at this beloved creature in worry, it churned his stomach knowing one of his precious creature were near that man.**

GRINDELWALD

Disapparate. Leave. Go forth from this place and spread the word: It

is not we who are violent.

**Dumbledore is shaking his head.**

**The auror's had just gained him more followers.**

They take the body and Disapparate, as does most of the crowd. THESEUS and

the AURORS watch the purebloods leave. THESEUS ushers his AURORS forward.

THESEUS

(looking at GRINDELWALD)

Let's take him.

They start to descend the amphitheater steps. GRINDELWALD turns his back on

the advancing AURORS, relishing the fight to come.

GRINDELWALD

Protego diabolica.

He spins and draws a protective circle of black fire around himself. The exits

close.

ABERNATHY, CARROW, KRAFFT, MACDUFF, NAGEL, and ROSIER walk

through the flames into the circle.

**It's clearly about to get interesting.**

ANGLE ON KRALL, hesitating.

Then he decides the circle is the better option, braces himself, runs into the fire

—and is consumed.

**Gasps in horror.**

" **It will only let those who are loyal to Grindelwald through."**

GRINDELWALD

Aurors, join me in this circle, pledge to me your eternal allegiance,

or die. Only here shall you know freedom, only here shall you know

yourself.

" **I'd rather die than ever do that." Leta grits out.**

**Unknown to the occupant in the room, the goddess like woman is shaking her head in remorse, there's noting she could do, fate has only allowed her to meddle so much, she's treading a fine line already, given how much she has changed the future on this timeline.**

GRINDELWALD sends a wall of flames into the air, pursuing fleeing AURORS.

GRINDELWALD

Play by the rules! No cheating, children.

NAGINI grabs CREDENCE and tries to drag him away with her, but he is

staring at GRINDELWALD.

**Credence has gripped her hand.**

CREDENCE

He knows who I am.

NAGINI

He knows what you were born, not who you are . . .

GRINDELWALD smiles at CREDENCE through the fire.

NEWT

Credence!

NEWT tries to fight the fire but it becomes more monstrous, lashing out with eel-

like spurs.

CREDENCE decides: Pulling free of NAGINI, he walks toward the flames.

**Cadence can't bare the looks he's receiving he doesn't know which is worse.**

**The betrayal on his sisters face.**

**The disappointment in his foster parents.**

**Or the heartbroken expression of Nagini.**

**He had abandoned Someone he cared very deeply for, maybe even loved.**

Devastated, NAGINI is forced back by the ever-expanding fire.

ANGLE ON QUEENIE AND JACOB, who are pressed up against a different

stretch of wall.

JACOB

Queenie. You gotta wake up.

QUEENIE

(a decision)

Jacob, he's the answer. He wants what we want.

**Jacob and Queenie hold each other.**

**This won't be there future.**

**It's all Jacob could hold onto, the only things preventing him from completely falling apart.**

**This won't happen on our timeline.**

JACOB

No, no, no, no, no, no.

QUEENIE

Yeah.

JACOB

No.

The black flames are coming toward them, fast.

ANGLE ON CREDENCE, walking through the flames.

GRINDELWALD embraces him like a prodigal son.

GRINDELWALD

This has all been for you, Credence.

**There were scoffs**

**Yh sure**

ANGLE ON QUEENIE AND JACOB.

QUEENIE

Walk with me.

JACOB

Honey, no!

QUEENIE

(screams)

Walk with me!

**Jacob and Queenie watch the screen in horror, as there relationship completely fella part right in front** **of them.**

**Tina has tears in her eyes.**

**She failed her sister.**

**Even when they were young, Tina always knew it was her responsibility to take care of her sister, and the know she had let her down so greatly was painful.**

JACOB

You're crazy.

She reads his mind, turns, hesitates, then walks into the black fire.

JACOB

(desperate, disbelieving)

No! Queenie, don't do it!

She screams, and JACOB covers his face, terrified, as she passes through the

ring of fire and joins GRINDELWALD'S side.

JACOB

Queenie . . .

TINA

QUEENIE!

QUEENIE Disapparates.

TINA retaliates, throwing a curse at GRINDELWALD, but the circle of fire

lashes out in ever more violent spears. GRINDELWALD conducts the flames as

though leading an orchestra, the Elder Wand his baton, as the forks of fire strike

at AURORS attempting to Disapparate or flee.

Half a dozen AURORS lose their heads and run through the flames to

GRINDELWALD.

**Theseus glares at the traitors.**

**He felt responsible, they were under his leadership, how could he not suspect anything.**

ANGLE ON NEWT AND THESEUS, standing together on the amphitheater

steps.

GRINDELWALD

Mr. Scamander. Do you think Dumbledore will mourn for you?

**Dumbledore shakes his head sadly, he would very much mourn one of his favourite students.**

GRINDELWALD throws a large burst of black fire at them both, and THESEUS

and NEWT defend themselves.

LETA (O.S.)

Grindelwald! Stop!

GRINDELWALD catches sight of LETA.

THESEUS

Leta . . .

**Theseus holds leta's hand.**

GRINDELWALD

This one I believe I know.

THESEUS makes a gigantic effort of will, carving a passage toward LETA,

determined to reach her. They are using all their skill to keep the flames at bay.

GRINDELWALD moves toward her through the flames as THESEUS fights

closer, desperate to reach her.

**Leta closes her eyes in acceptance, she knew she most likely wouldn't make it to to end.**

**She had hoped, she didn't want to leave Theseus.**

**She wanted to spend the rest of her** **life with him.**

**Get married, someday have children of her own, grow old together.**

**But If this is to be it.**

**She's proud.**

**She will die fighting for good.**

GRINDELWALD

Leta Lestrange . . . despised entirely amongst wizards . . . unloved,

mistreated . . . yet brave. So very brave.

(to LETA)

Time to come home.

He stretches out his hand. She contemplates it.

He looks at her, eyes narrowed.

She looks toward both THESEUS and NEWT, who are watching her, stunned.

LETA

I love you.

She points her wand at the skull in ROSIER'S hands, which explodes. ROSIER is

knocked backward and GRINDELWALD is momentarily obscured in a whirl of

chaos.

LETA

(to the others)

GO! GO!

The fire engulfs LETA. THESEUS goes wild. He tries to dive after her.

**Theseus is crying, holding his love close.**

**His heart is hurting, he can't breath, he has never felt pain like this.**

**He want to believe that the woman's words were wrong.**

" _**I must must warn you no one is immune to death, if your gonna die in one timeline your also will perish in all your timelines,"**_

**A distraught newt is being comforted by Tina.**

**His first friend was gone.**

**His future sister was dead.**

**His mind was made up.**

**His side was chosen.**

**She will not die in vain.**

But NEWT grabs him and they Disapparate. The fire, mirroring

GRINDELWALD'S rage, explodes, chasing them.

GRINDELWALD

(whispers)

I hate Paris.

**No one can even attempt to lighten the somber mood.**

SCENE 115

EXT. PÈRE LACHAISE CEMETERY—A MINUTE LATER—NIGHT

NEWT and THESEUS, TINA with JACOB, and KAMA with NAGINI all

Apparate out from the amphitheater. The black fire pursues them like a many-

headed hydra, erupting out of every mausoleum.

FLAMEL arrives at last.

The cemetery is on the verge of destruction. The fire GRINDELWALD has

unleashed is out of control. It forms dragon-like creatures intent on annihilation.

FLAMEL

TOGETHER! In a circle, your wand into the earth, or all Paris will be lost!

NEWT & THESEUS

Finite!

TINA

Finite!

KAMA

Finite!

FLAMEL

Finite!

Our heroes, minus JACOB, make a circle, plunge their wands into the earth.

It takes almost superhuman power to contain GRINDELWALD'S demonic fire,

which they are forced to combat with flames still more deadly. United, our

heroes fight . . .

And at last, their purifying fire drives GRINDELWALD'S back. The entrances to

the underground lair are sealed.

**Despite the sadness and loss muggles are mesmerised by the sheer power displayed for them.**

They have saved the city.

FLAMEL comforts JACOB. NAGINI sits in the darkness, tearful.

**Credence wants to hug the said woman, though she has moved from the seat next to him to sit next to Chasity.**

NEWT shuffles over awkwardly to the bereft THESEUS. NEWT hesitates,

struggling to find words of comfort. Then, for the first time in his life, he puts his

arms around his brother. They hug.

**This was the first time as an adult that newt has hugged his brother without Theseus hugging newt first.**

NEWT

I've chosen my side.

The Niffler hobbles over to NEWT, who picks him up . . .

NEWT

(to the Niffler)

Come on. Yeah. No, you're okay.

**Newt looks at his beloved creature, who is singed.**

**His poor niffler**

. . . then notices GRINDELWALD'S vial in its paws. He takes the pendant,

amazed. NEWT tucks both the vial and Niffler inside his coat.

**Dumbledore is staring at the pendant in amazement, if he could find away to break the pact...**


	13. A Phoenix is born

A Phoenix is born

SCENE 116

EXT. THE VIADUCT AT HOGWARTS—DAWN

DUMBLEDORE is walking across the viaduct from Hogwarts, toward NEWT,

JACOB, TINA, THESEUS, NAGINI, KAMA, TRAVERS, and assorted AURORS,

who stand at the other end.

**The atmosphere is still very solum, everyone is still processing the previous events.**

**Loved one are comforting each other and mourning the ones they lost ether to death or Grindelwald.**

**One would think that Grindelwald had already won.**

NEWT walks ahead alone to meet DUMBLEDORE. TRAVERS moves to stop

him.

" **Oh Just sod off." Modesty hissed time the man.**

**Her siblings and foster parents look to the girl in shock.**

**This is the first time she's even sworn or been disrespectful to anyone.**

**She must really be upset with everything that happened.**

**Truthfully she was, in her mind travers had inadvertently pushed credence into Grindelwald.**

THESEUS

(to TRAVERS)

I think it's best if he speaks to him alone.

TRAVERS opens his mouth to protest. Meets THESEUS'S gaze. Nods curtly.

" **You shut him down Theseus." Jacob halfheartedly cheers.**

NEWT walks along toward DUMBLEDORE. They meet in the middle of the

viaduct.

SCENE 117

EXT. AUSTRIA, NURMENGARD CASTLE WINDOW—DAWN

**Aurors take note of the location of Grindelwald already planning a form of raid.**

CREDENCE is staring out at the sky, scared of what he has done but awed by

the magnificent vista. We pan out to see Nurmengard, high on its mountain.

**Despite the heavy atmosphere people still marvel at the beauty.**

SCENE 118

INT. NURMENGARD CASTLE, SIDE ROOM—DAWN

GRINDELWALD and QUEENIE are watching CREDENCE through the half-

open door into a grand drawing room.

GRINDELWALD

(whispers)

Is he frightened of me still?

QUEENIE

(whispers)

You need to be careful . . . He's not sure he made the right choice. Be very gentle with him.

**Queenie can barely look at herself, she is disgusted with the version of herself.**

**Though more than anything she is terrified.**

**The strange woman had said they wouldn't remember any of this.**

**what if despite all the changes that were made since the last movie, like them immigrating to England, planning there wedding, starting there new life together... what if despite all of that she still turns to Grindelwald.**

**What will happen to her, if for some reason she still joined Grindelwald what would her future hold.**

**Most Likely death or Azkaban.**

**She would either be killed by Grindelwald or killed in the crossfire.**

**If Grindelwald did win her sister, newt would probably be killed.**

**However if Grindelwald did loose and by some miracle she was still alive, the ministry would lock her up in Azkaban and throw away the key.**

**A shiver runs down her spine just picturing her spending the rest of her life in that awful place.**

**A place filled with murders, tortures and al other wicked people, not to mention the dementors...**

**Having them suck out any happiness...**

**She doesn't even want to think about it.**

**All she can do is treasure what she has and hope that it's enough to keep her in the light.**

**She has to hope.**

She smiles as he bows her out through a separate door. Once he is sure she has

gone, he walks into the drawing room to join CREDENCE.

GRINDELWALD

I have a gift for you, my boy.

From behind his back he takes a handsome wand. With a bow, he presents it to

CREDENCE, who cannot believe his eyes.

**Credence looks at the wand.**

**it is pretty however he wouldn't trade his wand that the Weasley's brought him for anything.**

**He fingers the wand.**

SCENE 119

EXT. THE VIADUCT AT HOGWARTS—DAY

We see that DUMBLEDORE is hollow-eyed. His usual calm has gone. He's a

man at the end of his tether.

**Much like he is now.**

**This has to stop.**

**Dumbledore can no longer let his feeling get in the way of what must be done.**

**Grindelwald is not the man he once loved or maybe he still is maybe it was Dumbledore who had changed.**

**Who's loss of his beloved Ariana finally opens his eyes to the person he had become.**

**Either way...**

**If it came down to it.**

**He would take Grindelwald out himself if he had to.**

**Now that newt had the pact he would stop at nothing to break it.**

**Only then would he be able to finally see to it that Grindelwald was either locked up for the rest of his life.**

**Or**

**He was dead.**

DUMBLEDORE

Is it true about Leta?

NEWT nods.

NEWT

Yes.

DUMBLEDORE

I'm so sorry.

**Leta just nodded.**

**Her time had come, as the woman had spoken on one can escape death, if the universe had decided it was your time then there was nothing you could do.**

**Leta wasn't sad, she had lived a good life for the most of it and in the end she got what she had always desired.**

**Love**

**The love that came from a friendship with one of the most amazing people she ever had the pleasure of knowing.**

**The love of a man who accepted her for everything that she was, flaws and all.**

**A man who didn't care about her past or who her family was or even what people said about her.**

**How many people could you say that about.**

**How many people can make you feel rare and pure and Special.**

**So she isn't sad about dieing, why should she when she had been blessed with everything she had ever wanted.**

NEWT pulls out the vial. DUMBLEDORE stares at it, simultaneously tormented

and amazed.

NEWT

It's a blood pact, isn't it? You swore not to fight each other.

Bitterly ashamed, DUMBLEDORE nods.

DUMBLEDORE

(overcome)

How in the name of Merlin did you manage to get . . . ?

" **From a very brave Niffler."**

**Said niffler pokes his head out of the blue coat.**

The Niffler pokes its head out of NEWT'S jacket, sad to see the pendant go.

NEWT

Grindelwald doesn't seem to understand the nature of things he considers simple.

**Newt smiles down at his niffler.**

**Yes he may be a pain but newt wouldn't trade him for anything in the world.**

DUMBLEDORE raises his hands to show the Admonitors.

CLOSE ON THESEUS.

He raises his wand.

BACK TO DUMBLEDORE AND NEWT.

The Admonitors fall from DUMBLEDORE'S wrists.

The vial—blood troth—hangs in the air between them.

NEWT

Can you destroy it?

**Hopeful eyes turn to Dumbledore.**

**The man in question is intently staring at the blood pact, his mind swirling with possible ways to destroy it.**

**Surly there should so some way.**

**He would need to speak to several of his contacts and do some research.**

DUMBLEDORE

Maybe . . . maybe.

Overcome, tearful, he tries to speak cheerfully.

DUMBLEDORE

(of the Niffler)

Would he like a cup of tea?

**There a a few laughs.**

" **Hide the spoons."**

They turn to walk back toward Hogwarts.

NEWT

He'll have some milk. Hide the teaspoons.

**Tena nudges newt who is red.**

The others walk slowly after them.

SCENE 120

INT. NURMENGARD CASTLE—DAWN

GRINDELWALD

You have suffered the most heinous of betrayals, most purposely

bestowed upon you by your own blood. Your own flesh and blood.

And just as he has celebrated your torment, your brother seeks to

destroy you.

**The room is quiet, everyone is completely focused on the screen.**

**this was it they were going to learn of his parentage.**

**Credence was hanging on every word as were the rest of his family.**

**Nagini was offering support.**

CREDENCE inhales sharply. His chick steps gingerly onto GRINDELWALD'S

palm. GRINDELWALD throws it in the air, where it catches alight.

**Few have started to figure it out.**

**There eyes open, there mouths drop.**

**No**

**It couldn't be.**

**Could it**

**Dumbledore's back has straightened, for once he is at a loss for words.**

**Was it possible, surely he and his siblings would know, did his father have an affair, did his mother become pregnant again?**

**By now most have caught on.**

**This was not what they were expecting, no one knows what to say.**

**What is there to say.**

**The Weasley's are staring intently at Dumbledore.**

**I'm fact most are staring at the two men trying to see any resemblance or any similar features.**

GRINDELWALD

There is a legend in your family that a phoenix will come to any member who is in dire need.

**Those last few who hadn't got it were now fully wear.**

**Credence looked to albus.**

**He had a brother.**

**He didn't know what to think,**

**It most certainly wasn't what he was expecting.**

**Would Dumbl-his brother even want to know him.**

Given room at last, the bird stretches its wings and becomes full size. The bird is

aflame, a phoenix reborn.

**There was no denying it now**

GRINDELWALD

It is your birthright, my boy. As is the name I now restore to you.

(whispers)

Aurelius. Aurelius Dumbledore.

**Dumbledore racked his brain, Aurelius.**

**Had he ever heard that name before.**

**No he didn't think so**

**For a moment he was filled with an anger he hadn't felt since he was a young man.**

**Anger at his father, why would he keep something like this.**

**Using Occlumency Dumbledore was able to get bring hi emotions in check.**

CREDENCE turns. The power of his Obscurus can at last be channeled. He

points the wand at the window and a spell of immense power shatters the glass

and breaks apart the mountain opposite.

CREDENCE stands staring through the shattered glass at his handiwork. He is

extraordinary, and this is just his beginning.

**No words are spoken.**

**Everyone is in shock at the power this young man possess.**

**Grindelwald just just gains himself a powerful ally.**

**This was bad.**

**The movie had ended yet everyone was rooted to there chairs, trying to process everything they had just learned in 5 minutes.**

**The two Dumbledores were gazing At each other nether knowing what to say.**

**Everyone else was still trying to get over there shock.**

**Once again the beautiful woman appears.**

**He takes in the shell shocked audience And sighs.**

**She knew this was a bad idea, she will admit she does feel guilty taking away there memories knowing that there loved ones will die and they won't be able to stop it of even know it's going to happen.**

**There is only so kick she can do, she's already walking a tight robe from when she allowed the wizards to view the first movie.**

**With all the changes they had made...**

**Anyway she was on thin ice with the elders.**

**What she was about to do was cruel, and she wished she could give them a chance to talk about what they had just witnessed but she couldn't risk making the council even more angry.**

**So with a regretful sigh and a wave of her hand everyone had been transported right back to where they were and what they were doing before they arrived here with all there memories gone and an mild headache.**

**She let out a tired sigh and slumped in one of the seats.**

**Honestly this was exhausting.**

**Her phone rang, looking down she recognised a familiar number, of course he would ring.**

**Ever since she had cheetahs a new reality for the characters, he had been lecturing her and harassing her.**

**Knowing he would continue calling until she picked up she pressed the accept button and pressed the phone to her ear.**

" **Yes strange."**


End file.
